Campbell-Baroque+Concerto

 Baroque Concerto Background Concertat refers to the musical method of applying strong contrast or opposition. This was most commonly achieved by the division the orchestra into two or more groups or the use of soloists. The concertat style originated in the 16th century but grew in prominence and popularity over the course of the 17th century and was inspired by the architectural design of the European cathedrals at the time due to their acoustics. **//Concerto//** first appeared officially as a musical term at the Venetian School. Though the meaning of the term changed over the course of the 17th century, at the time it merely referred to the application of the concerato principle to a musical piece.

**// Concerto //**
 * // A composition ususally in three parts or movements with one solo instrument accompanied by an orchestra //**

Types of Concerto By 18th century there were three types of concerto: solo concerto, concerto grosso, and orchestral concerto, the most popular of which was the solo concerto. **// Solo Concerto //** **// Concerto Grosso //** **// Orchestral Concerto //**
 * // Consists of one soloist and an orchestra //**
 * // Consists of two or more soloists and an orchestra //**
 * // Consists of an undivided orchestra //**

Construction Concertos are organized into three movements with a fast-slow-fast pattern, an arrangement that was established by Giuseppe Torelli. Before Antonio Vivaldi the middle movement was short and viewed as more of a transitional section between the first and last movements. Vivaldi, as well as Albinoni, another Venetian composer, intensified the slower second movement to sometimes give the impression that this was the highlight of the piece. The second movement was not in [|ritornello form] while the two faster movements commonly were. **// Ritornello Form //** Composers media type="file" key="Arcangelo Corelli- Concerto grosso No.2 in F Major, Part 1.mp3" width="240" height="20" an example of Archangelo Corelli's concerto grosso
 * //In ritornello form the tutti opens with a theme that then returns in different keys throughout the movement, usually in incomplete fragments.//**
 * Archangelo Corelli** applied concerato style to the **//trio sonata//** to craft his concerti grossi. His twelve concertos could be categorized into two groups: church concertos (first 8) and chamber sonatas (last 4).

media type="file" key="Vivaldi - Concerto for Two Violins in A Minor RV522.mp3" width="240" height="20" an example of Antonio Vivaldi's concerto grosso
 * Antonio Vivaldi** works were described as carefully planned with clearly defined structures. Vivaldi’s solo concertos were most popular in the later baroque era, in these works he used contrast between the soloist and the tutti to enhance dramatic tension more than earlier composers ever had. His sound has been described to have rhythmic vitality, varied texture and relatively spontaneous-sounding melodies. He often applied ritornello form to his opening movements which highlighted vocal soloists and provided unity through the use of recurrent themes in the orchestra. Soloists were more significant in Vivaldi’s concertos than those of composers before him. In Vivaldi’s pieces soloists were often given more decorative passages and were only lightly accompanied to provide an even more dramatic contrast with the tutti sections.
 * // Trio Sonata //**
 * //Written for two solo melodic instruments and basso continuo (usually played by at least two instruments) making three parts in all, hence the term//** **trio //sonata.//**

