Concerto grosso: Baroque ensemble form and its evolution

Structure and forces

Most concerti grossi follow a multi-movement plan, commonly three movements arranged fast–slow–fast. Within movements the interplay between groups produces contrast in dynamics, articulation and contrapuntal treatment. The small solo group is called the concertino, while the larger ensemble is called the tutti or ripieno. Typical concertino line-ups in Italian practice consisted of two violins and a cello, supported by continuo instruments such as harpsichord or organ.

• Common movement layout: quick — lyrical — lively (dance-like or fugato)
• Typical concertino instruments: two violins plus cello or other contrasting winds
• Ripieno: string orchestra reinforced by continuo, sometimes with winds for color

Origins and historical development

The form developed in the late 17th and early 18th centuries as composers explored dialogue between solo groups and ensembles. It is most closely associated with the Baroque period, when composers established formal procedures for alternating textures and integrating contrapuntal writing with concerted effects. The form flourished into the early 18th century, when it was widely used in both church and secular settings.

Notable composers and examples

The Italian violinist-composer Arcangelo Corelli did much to popularize the concerto grosso. His published collections made the concertino of two violins and a cello a model that many imitators followed; that typical grouping is often described simply as two violins and a cello. George Frideric Handel used the same concerto grosso forces for a number of lively and grand works. Johann Sebastian Bach adopted the idea in several of his multi-instrument concertos: the Brandenburg Concertos offer diverse instrument combinations, and many of them function as concerti grossi. For instance, Brandenburg No. 2 features a concertino of trumpet, violin, recorder and oboe—each highlighted in solo passages (trumpet, violin, recorder, oboe).

Decline and later revivals

As musical tastes shifted toward the Classical era, composers increasingly favored the single-soloist solo concerto and the homogenous orchestra, so the concerto grosso fell from common practice. In the 20th century a number of composers revisited Baroque forms and textures with modern language: among them Igor Stravinsky and Béla Bartók produced works that consciously echo the concertino–ripieno contrast while using twentieth-century harmonies, rhythms and orchestration.

Characteristics, importance and listening tips

When listening to a concerto grosso, attend to the dialogue between the concertino and the ripieno: count how the small group exposes themes or ornaments lines, and how the full ensemble answers or intensifies material. Notable characteristics to listen for include imitation, call-and-response figures, alternating textures, and a mix of contrapuntal and homophonic writing. The form is important historically because it helped develop orchestral writing, group virtuosity and the idea of contrasted timbres within a single work.

Representative works

1. Corelli: concerti grossi — archetypal examples of the genre (Italian roots and practice)
2. Handel: published sets of concerti grossi that balance pomp and chamber intimacy
3. Bach: the Brandenburg Concertos—each a different colouristic experiment
4. 20th-century reworkings: pieces by Stravinsky and Bartók that revive the idea in modern guise