Concerto Grosso Analysis
Before concerto grosso took form, it had a series of predecessors that morphed over time to finally become what we recognise today as concerto grosso. The first of these predecessors was the trio sonata – a work composed for two violins and cello. Trio sonatas were composed in the style of da chiesa (to be performed in the church) or da camera (to be performed in the courts of noblemen and aristocrats). Trio sonata evolved into solo sonatas where a solo instrument such as violin, flute, oboe or cello would perform whilst being accompanied by two violins and continuo. What rose from the solo sonata was the separation of the soloist and the accompanying string group in the ensemble (referred to as ripieno and concertino respectively). This provided
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Because of the influence on Bach from composers such as Corelli who helped cement the concerto grosso, it is evident in Bach’s Brandenburg Concertos that characteristic elements are stylistic of both composers. Some of these things that can be found in both Bach’s and Corelli’s compositions included: the cycle of 5ths chord progression, the resemblance between Bach’s concertino passages and Corelli’s trio sonatas, use of imitation and the strong sense of tonality through the use of sequences. However, The Brandenburg Concertos include many unique elements by Bach that separated his works from other composers such as Corelli and Handel and in a way separating himself from the restraints of Baroque style. Brandenburg No. 2 is more modern and sophisticated. In movement 1 Bach includes a trumpet. His addition of the trumpet contrasts to the instrumentation of concertos by other composers like Corelli who preferred strings. Bach also included six subjects, modulations in the episodes which convey the virtuosity of the concertino soloists, and the use of stretto (form of polyphony where voices overlap). In the 2nd movement he reduced the size of the orchestra by taking away the trumpet leaving three concertino instruments plus continuo. Bach’s complex construction of this movement sets him apart from other composers. There is not a set form however he utilises polyphony, imitation and call and response between instruments. The use of tierce de picardi gave a uniqueness to the 2nd
Because of the influence on Bach from composers such as Corelli who helped cement the concerto grosso, it is evident in Bach’s Brandenburg Concertos that characteristic elements are stylistic of both composers. Some of these things that can be found in both Bach’s and Corelli’s compositions included: the cycle of 5ths chord progression, the resemblance between Bach’s concertino passages and Corelli’s trio sonatas, use of imitation and the strong sense of tonality through the use of sequences. However, The Brandenburg Concertos include many unique elements by Bach that separated his works from other composers such as Corelli and Handel and in a way separating himself from the restraints of Baroque style. Brandenburg No. 2 is more modern and sophisticated. In movement 1 Bach includes a trumpet. His addition of the trumpet contrasts to the instrumentation of concertos by other composers like Corelli who preferred strings. Bach also included six subjects, modulations in the episodes which convey the virtuosity of the concertino soloists, and the use of stretto (form of polyphony where voices overlap). In the 2nd movement he reduced the size of the orchestra by taking away the trumpet leaving three concertino instruments plus continuo. Bach’s complex construction of this movement sets him apart from other composers. There is not a set form however he utilises polyphony, imitation and call and response between instruments. The use of tierce de picardi gave a uniqueness to the 2nd