Overview. As in the Baroque era, the term concerto implies the opposition of the large sound of the full orchestra (tutti) versus the smaller sound mass of the soloist.Unlike the Baroque concerto grosso, which employed a group of soloists ( the concertino), the classical concerto is most typically
1. Unit XIII The Eighteenth-Century Concerto and Sonata Chapter 37 - The Classical Concerto
2. Overview As in the Baroque era, the term concerto implies the opposition of the large sound of the full orchestra (tutti) versus the smaller sound mass of the soloist.
Unlike the Baroque concerto grosso, which employed a group of soloists ( the concertino), the classical concerto is most typically a solo concerto.
3. Overview Piano and violin concertos are most prominent.
Follows the 3-movement sonata cycle (fast-slow-fast).
4. Cadenza Characteristic feature - the orchestra falls silent and the soloist launches into a free play of fantasy on one or more themes of the movement. During this time the cadenza was usually composed on the spot during performance. Remember, the composer was usually the soloist at the premier during this time.
5. The Movements of the Concerto
6. First movement Double exposition sonata-allegro form
Usually themes are presented first by the orchestra in full or partial completeness before being played by the soloist in complete form.
7. Second movement Largo, adagio, or andante.
Features the soloist in poetic, songlike melody.
Contrasting key to first and last movement.
8. Third movement (Finale) Generally an allegro molto or a presto.
Usually shorter than the first movement.
Rondo or sonata-rondo form.
9. Mozart: Piano Concerto in G Major, K. 453 (1784) Note Köchel number.
Wrote six piano concertos in 1784
10. First movement: Allegro in double-exposition sonata allegro form. Opens with an orchestral ritornello
Followed by piano with its own exposition and a new theme
Orchestral ritornello also heard in recapitulation
This concerto is usually heard with Mozart’s cadenza
See Listening Guide 22, pp. 208 -209 (CD 2/29-39), for themes and analysis.
11. Second movement: Andante in C major Also double exposition form
Notable for variety of woodwind colors
12. Third movement: Presto in G major Theme and Variations
Graceful, dance-like theme and five variations
13. Famous Women Virtuosos of the Eighteenth Century It was deemed proper in the 18th century for noblewomen and upper-class women to study music
Many became highly skilled amateurs
Composers - Elisabeth-Claude Jacquet de la Guerre
14. Famous Women Virtuosos of the Eighteenth Century Violinists
Anna Maria della Pieta
Maddelena Lombardini (student of Tartini)
15. Famous Women Virtuosos of the Eighteenth Century Keyboardists
Maria Anna Mozart (Nannerl)(1751-1829) - sister of Wolfgang
16. Famous Women Virtuosos Maria Theresa von Paradis (1759-1808)
Accomplished pianist and organist
Remarkable musical memory - over 60 concertos memorized for her tour (1783-86)
Mozart wrote his Piano Concerto in B flat K. 456 for her in 1784
Her teacher, Antonio Salieri wrote his only organ concerto in her honor
Her works include 2 concertos, a piano trio and a number of sonatas have been lost
17. Famous Women Virtuosos of the Eighteenth Century Barbara von Ployer - Student of Mozart for whom he wrote 2 concertos