This site introduces unknown Emanuel Bach (C. P. E. Bach).
ChatGPT4o writes as follows (please note that it may not be accurate):
The concerto of the 18th century evolved by inheriting Baroque traditions while integrating Classical innovations. During this era, the format featuring a dialogue between solo instruments and the orchestra developed, and the solo concerto became established as a central genre.
In the Baroque period, the concerto grosso, exemplified by composers like Vivaldi and Corelli, was predominant. These works were characterized by the contrast between the concertino (a group of solo instruments) and the ripieno (full ensemble), significantly influencing early 18th-century concertos. Vivaldiʼs solo concertos also played a crucial role in the development of the 18th-century concerto.
In the early 18th century, Giovanni Battista Sammartini developed a form featuring dialogue between solo instruments (mainly the violin) and the orchestra. Concertos from this period generally followed a three-movement structure (fast–slow–fast), with solo passages offering decorative and brilliant passages, while the orchestra provided harmonious accompaniment.
Carl Philipp Emanuel Bach made significant contributions to the keyboard concerto. His concertos, rooted in the empfindsamer Stil (sensitive style), are characterized by rich emotional expression and dramatic modulations. His works, while grounded in ritornello form, emphasized the free expression of the solo instrument and later influenced Mozart’s keyboard concertos.
In the late 18th century, Mozart elevated the concerto to an artistic pinnacle. His piano concertos deepened the dialogue between solo instruments and the orchestra, blending beautiful melodies with intricate structures. Mozart’s violin concertos also pursued a balance between technical brilliance and emotional expression. Formally, his concertos combined sonata form and ritornello form, bringing the roles of the soloist and the orchestra closer to equality.
In Italy, the traditions of Tartini and Vivaldi persisted, resulting in many excellent violin concertos. In Germany, C.P.E. Bach and the Mannheim school led the development of keyboard concertos. In London, Johann Christian Bach composed outstanding keyboard concertos, significantly influencing the young Mozart.
The 18th-century concerto greatly expanded the potential of solo instruments through its evolution in form and expression. The format emphasizing dialogue between solo instruments and the orchestra paved the way for Romantic concertos in the 19th century. As a genre symbolizing the transition from the Baroque to the Classical period, the concerto holds an important place in music history.
Asked ChatGPT4o: “Who was the first composer to create a concerto in the fast–slow–fast three-movement form?”
Arcangelo Corelli (1653–1713), an Italian composer, is widely recognized as the first to establish the fast–slow–fast three-movement form in concertos. His "Concerti Grossi," Op. 6, frequently adopt this structure, greatly influencing later composers.
Furthermore, Antonio Vivaldi (1678–1741) successfully standardized and popularized this form. His numerous concertos, particularly those in *The Four Seasons* from *Il cimento dellʼarmonia e dellʼinventione*, Op. 8, adopted the fast–slow–fast structure as a typical model and significantly contributed to its widespread use.
Thus, while early examples of the fast–slow–fast form can be found in Corelli’s works, Vivaldi is credited with establishing and widely disseminating this structure.