Page 82 - (DK) The Classical Music Book - Big Ideas Simply Explained

80

THE NEW ORPHEUS

OF OUR TIMES

CONCERTI GROSSI, OP. 6 (1714),
ARCANGELO CORELLI

he Italian term “concerto” the modest setup of a small
IN CONTEXT was initially used to group of soloists and a string
T describe any music for ensemble with continuo (bass
FOCUS voices and added instruments, with line), as developed by the Italian
The concerto grosso
a distinction evolving in the early composer Arcangelo Corelli around
BEFORE 17th century between concerti the turn of the 18th century.
1610 The publication of ecclesiastici (church music) and
Giovanni Cima’s Sonate concerti di camera (chamber Corelli’s early Concerti Grossi were
a Tre for violin, cornet, and music). By the late 18th century it premiered in Rome’s Palazzo Pamphilj,
continuo—an early example had evolved into the much grander a dazzling example of Italian Baroque
of secular Italian chamber showcase for virtuosity that is architecture that reflected the order
music for three instruments. familiar today, but its roots lie in and playfulness of the music.

1675 The first performance
of Alessandro Stradella’s
Sonata di Viole No. 25, which
contrasts a soloist with an
ensemble. Corelli is likely
to have heard this during
his time in Rome.
AFTER
1721 J.S. Bach puts together
his Brandenburg Concertos,
several of which experiment
with the instrumentation of
both solo and ensemble groups.
1741 Handel’s Twelve Concerti
Grossi, Op. 6, are published,
in direct homage to Corelli’s
Concerti Grossi.

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