The Rise of the Concerto: Solo vs. Grosso

Exploring the Baroque Era: Level 9 Music History Challenge – Question 3.

The Baroque era (c. 1600–1750) was a time of immense growth for instrumental music, and no form became more popular or influential than the concerto. The concerto, which means "to contend" or "to join together," is a musical work that features a contrast between a soloist or a group of soloists and a larger orchestra. This article compares the two main types of Baroque concertos and explains the pivotal role of Antonio Vivaldi in their popularisation.

The Two Main Types of Baroque Concertos

The main characteristic that distinguishes the two concerto types is the size of the solo group. Both types rely on the tension and contrast between a smaller group and the full orchestra.

Type	Solo Group	Orchestral Group	Defining Feature
Concerto Grosso	The Concertino (a small group of 2-4 soloists)	The Ripieno or Tutti (the full orchestra/ensemble)	Contrast between a small group of soloists and the entire orchestra.
Solo Concerto	A single featured instrument (e.g., a violin, oboe, or trumpet)	The Ripieno or Tutti (the full orchestra/ensemble)	Focus on the virtuosic display of one individual soloist against the orchestra.

1. The Concerto Grosso

The Concerto Grosso (Italian for "large concerto") was the earlier and more common form in the late 17th century.

• The Concertino: This is the small group of soloists (often two violins and a cello) that engages in a musical dialogue with the full orchestra.

• The Ripieno or Tutti: This is the full ensemble, which provides a solid, supportive, and contrasting background.

• Contrast and Dialogue: The core of the Concerto Grosso is the rapid exchange of musical ideas—the small concertino plays a quiet, more intricate figure, which is then answered by the loud, robust sound of the ripieno. This creates an immediate dramatic tension through the use of terraced dynamics (sudden shifts in volume). (See Doctrine of the Affections)

• Example: Arcangelo Corelli's Concertos, such as his famous Concerto Grosso in G minor, Op. 6, No. 8 ("Christmas Concerto").

2. The Solo Concerto

The Solo Concerto gained prominence in the early 18th century, largely due to the contributions of Antonio Vivaldi.

• The Soloist: A single virtuoso instrument is showcased, giving the performer the opportunity to demonstrate technical skill and emotional expression.

• Relationship: The orchestra provides a harmonic and rhythmic backdrop, often returning to a main theme, or ritornello, while the soloist plays long, fast, or lyrical passages.

• Focus: The focus shifts from the contrast between groups (as in the Grosso) to the emotional and technical display of one person against the collective power of the orchestra.

• Example: Antonio Vivaldi's The Four Seasons.

Antonio Vivaldi's Pivotal Contribution

Antonio Vivaldi (1678–1741), an Italian composer and skilled violinist known as "The Red Priest," was the central figure in popularising the concerto form, especially the Solo Concerto. He standardised the structure and wrote an immense number of works that were wildly popular across Europe.

Standardisation of the Three-Movement Form

Vivaldi firmly established the definitive structure for the Baroque concerto:

1. Fast (Allegro): A quick, energetic movement.

2. Slow (Adagio/Largo): A slower, lyrical, and more expressive movement.

3. Fast (Allegro/Presto): A final quick movement, often playful or virtuosic.

   
   

The Ritornello Form

Vivaldi perfected the Ritornello Form in the fast movements. The ritornello (Italian for "return") is a recurring main theme played by the full orchestra (tutti). This form works as follows:

1. The Tutti plays the main ritornello.

2. The Soloist plays a virtuosic episode.

3. The Tutti returns with a fragment or a complete statement of the ritornello.

4. The Soloist plays another episode.

5. This pattern repeats until the final Tutti plays the complete ritornello to end the movement.

This structure provided the perfect framework for a thrilling contrast, allowing Vivaldi to write hundreds of successful concertos, most famously The Four Seasons (which consists of four separate solo concertos). His prolific output and clear, predictable-yet-exciting structure made the concerto form accessible and immensely popular throughout the Baroque world.

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Question 3: The Rise of the Concerto: Compare and contrast the two main types of concertos developed in the Baroque era: the Solo Concerto and the Concerto Grosso. Explain how Antonio Vivaldi's contributions helped to popularise the concerto form.

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Bibliography for Series

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• Encyclopaedia Britannica (2011). Basso Continuo | Baroque Music, Accompaniment & Improvisation | Britannica. [online] Encyclopedia Britannica. Available at: https://www.britannica.com/print/article/55528 [Accessed 25 Jan. 2026].

• Encyclopaedia Britannica (2017). Polyphony | Definition, Melodic Lines, & Counterpoint | Britannica. [online] Encyclopedia Britannica. Available at: https://www.britannica.com/print/article/469009 [Accessed 25 Jan. 2026].

• Felis , L. (2012). "Baroque Music, the Library of Essays on Music Performance "Baroque Music, the Library of Essays on Music Performance. [online] State University of New York at New Paltz . Available at: https://scholarship.claremont.edu/cgi/viewcontent.cgi?article=1255&context=ppr [Accessed 25 Jan. 2026].

• Fenaroli, F. (2022). Partimenti Di Fedele Fenaroli (Fenaroli, Fedele) - IMSLP. [online] Imslp.org. Available at: https://imslp.org/wiki/Partimenti_di_Fedele_Fenaroli_(Fenaroli%2C_Fedele) [Accessed 25 Jan. 2026].

• Gan, Y. (2024). Research on the Stylistic Characteristics of Keyboard Music Works in the Baroque Period. Frontiers in Art Research, [online] 6(10). doi:https://doi.org/10.25236/far.2024.061012.

• Harriss, E. (1939). Johann Mattheson - Der Vellkommene Capellmeister. [online] Scribd. Available at: https://www.scribd.com/document/816450894/Johann-Mattheson-Der-Vellkommene-Capellmeister [Accessed 25 Jan. 2026].

• Harriss, E. (2025). Der Vollkommene CapellMeister Book II. [online] Scribd. Available at: https://www.scribd.com/document/367701596/Der-Vollkommene-CapellMeister-Book-II [Accessed 2026].

• MasterClass (2020). Concerto Grosso Guide: Modern vs. Baroque Concerto Grosso - 2024 - MasterClass. [online] MasterClass. Available at: https://www.masterclass.com/articles/concerto-grosso-guide [Accessed 23 Feb. 2026].

• On Baroque (2013). Basso Continuo Example (Corelli). [online] YouTube. Available at: https://www.youtube.com/watch?v=wTGVOvTv0zE [Accessed 25 Jan. 2026].

• Pachelbel, J. (1680). Canon and Gigue in D major, P.37. [online] IMSLP. Available at: https://imslp.org/wiki/Canon_and_Gigue_in_D_(Pachelbel,_Johann) [Accessed 25 Jan. 2026].

• Pannain, G. (2019). Arcangelo Corelli | Italian musician | Britannica. In: Encyclopædia Britannica. [online] Available at: https://www.britannica.com/biography/Arcangelo-Corelli [Accessed 23 Feb. 2026].

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Glossary of Key Terms

• Adagio / Largo: Terms indicating a slow, lyrical, and expressive tempo, typically used for the second movement of a concerto.

• Allegro / Presto: Terms indicating a fast, energetic, or playful tempo, typically used for the first and third movements of a concerto.

• Concerto: Derived from the Italian for "to contend" or "to join together"; a musical work featuring contrast between a soloist (or small group) and a full orchestra.

• Concerto Grosso: A "large concerto" featuring a small group of soloists (concertino) in dialogue with a full orchestra (ripieno).

• Concertino: The small group of soloists (usually 2-4 players) in a Concerto Grosso.

• Doctrine of the Affections: A Baroque theory regarding the expression of emotions in music, often linked to the dramatic tension created by terraced dynamics.

• Episode: A section of a concerto where the soloist plays long, fast, or lyrical passages, appearing between statements of the ritornello.

• Ripieno: Also known as the tutti; refers to the full ensemble or orchestra that provides the backdrop and contrast to the soloists.

• Ritornello: Italian for "return"; a recurring main theme played by the full orchestra (tutti) that anchors the structure of a movement.

• Solo Concerto: A concerto featuring a single virtuoso instrument (e.g., violin, oboe, or trumpet) against the full orchestra.

• Terraced Dynamics: A characteristic Baroque style involving sudden, immediate shifts between loud and soft volume levels.

• Tutti: Italian for "all"; the full orchestra or ensemble.