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Concerto – Three-Movement Form
This site introduces unknown composer Emanuel Bach (C. P. E. Bach).
This English version was translated from Japanese one by ChatGPT.
The Development of the Three-Movement Form in Concertos
Asked ChatGPT4o: "How did concertos come to have three movements? Also, how did the form of each movement develop?"
The background to concertos adopting a three-movement form is significantly influenced by the changes in musical form and function during the transition from Baroque to Classical music. Below is an explanation of this developmental process.
1. Origins of the Three-Movement Form
- In Baroque concertos, particularly in the genre represented by Vivaldi, the three-movement form (fast-slow-fast) was already common. This originated from the tradition of dance music and a musical aesthetic that emphasized dramatic contrast.
- The fast-slow-fast form is characterized by its ability to easily capture the audienceʼs attention and allow performers to showcase their technical skills.
- First Movement features a “exposition” where a dynamic and impressive theme is introduced.
- Second Movement emphasizes lyrical and introspective expression.
- Third Movement serves as a lively and rhythmic finale.
2. Development of the Classical Concerto
- In the Classical period, the sonata form became established as the basic structure of music, influencing concertos as well. Mozart and Haydn played significant roles in this development.
- The three-movement form evolved as follows:
- First Movement: Fusion of Sonata and Ritornello Forms
- This movement typically begins with an orchestral introduction and adopts a “double exposition form” where the soloist enters.
- In Emanuel Bachʼs concertos (e.g., Wq. 11), remnants of the ritornello form can be seen, but from Mozart onwards, the sonata form was fully integrated.
- Second Movement: Lyrical Form
- It is common to use aria form (ABA form) or a free sonata form. This movement demands emotional depth and expressiveness, with Mozart particularly refining this form.
- Third Movement: Rondo or Sonata Form
- A light and accessible rondo form was frequently used here. While the influence of the ritornello form remains strong, the sonata form is also sometimes adopted. It serves to excite the audience as a finale.
3. Romantic Period and Subsequent Changes
- In the Romantic period, a symphonic character was introduced into concertos. In the concertos of Beethoven and Brahms, while maintaining the three-movement form, the scale of each movement was expanded, and the structure became more complex.
- Beethovenʼs Piano Concerto No. 5 “Emperor” is particularly famous for the contrast between its dramatic first movement and lyrical second movement.
- Brahms strengthened the tendency to closely relate each movement.
Conclusion
The adoption of the three-movement form in concertos began with the practical structures of the Baroque period and evolved into a more artistic form through the refinement of forms in the Classical period and beyond. The form of each movement has evolved through the addition of new elements over time, progressing through sonata form, ritornello form, rondo form, and others.
If you would like to know more about specific composers or periods, please let me know.
“Brahms wrote a piano concerto with four movements.”
Thatʼs correct. Brahms adopted a four-movement structure in his Piano Concerto No. 2 in B-flat major, Op. 83. This is unusual for a piano concerto and reflects Brahmsʼ creativity and individuality. Below is an explanation of its movement structure and characteristics.
Four-Movement Structure of Brahmsʼ Piano Concerto No. 2
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First Movement: Allegro non troppo
- A weighty movement in sonata form, it begins with a gentle horn introduction, followed by a brilliant entry of the piano.
- The dialogue between the orchestra and piano is tight, with a symphonic scale.
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Second Movement: Allegro appassionato
- A movement in scherzo form. This scherzo, typically found in the third movement of symphonies, is placed here as the second movement.
- It is characterized by intense passion and drama, elements not found in Brahmsʼ other piano concertos.
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Third Movement: Andante
- A lyrical ternary form, beginning with a beautiful melody by a solo cello.
- This movement emphasizes a chamber music-like intimacy, with the piano playing a delicate and introspective role.
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Fourth Movement: Allegretto grazioso
- A light finale in rondo form.
- In contrast to the passion of the scherzo and the lyricism of the third movement, it concludes the entire piece with an approachable theme and bright atmosphere.
Reasons Brahms Chose Four Movements
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Pursuit of Symphonic Character
Brahms is highly regarded as a symphonic composer. In his Piano Concerto No. 2, the pursuit of symphonic scale and structure naturally led to the choice of a four-movement structure.
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Ensuring the Uniqueness of Each Movement
Each movement has a distinctly different character, constructing an independent musical world, thus maintaining balance even in the lengthy four-movement form.
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Need for Individual Expression
The idea of placing a scherzo in the second movement and the chamber music approach in the third movement reflect Brahmsʼ quest for innovation in the genre of piano concertos.
Brahmsʼ Piano Concerto No. 2 is characterized by its departure from the traditional three-movement structure and the fusion of symphonic elements, making it a masterpiece that encapsulates his musical originality. If you have interest in specific parts, please feel free to ask.
Asked ChatGPT4o: “What was it like before Vivaldi?”
Before Vivaldi, the concerto form had not yet been established in the current three-movement form, and mainly featured a free structure with multiple movements. Here is an explanation of the development of concertos before Vivaldi.
1. Early Concept of “Concerto”
- The word Concerto is derived from the Latin “concertare” (to compete or cooperate).
- Early concertos developed as music where solo instruments and ensembles (or two groups) “competed” with each other.
- During this period, movement structure and form were not unified and followed the musical demands of the moment or the composerʼs intentions.
2. Major Forms Before Vivaldi
a. Canzona and Sonata
- Early canzonas and sonatas are considered direct predecessors of the concerto.
- Form: Often featured a structure of consecutive short movements, with contrasting tempos and characters. For example, a structure where fast and slow tempo sections alternated.
- Composers: Giovanni Gabrieli (1557-1612) and Girolamo Frescobaldi (1583-1643) laid the foundation for concertos as ensemble music.
b. Concerto Grosso
- The concerto grosso, which flourished before Vivaldi, was a concerto form based on the dialogue between a small group of soloists (concertino) and a larger ensemble (ripieno).
- Form: There was no established movement structure, but there was a tendency to contrast slow and fast movements.
- Composers: Arcangelo Corelli (1653-1713) was a representative composer of this form, and his “Concerti Grossi Op. 6” had a significant influence on later generations.
c. Ricercare and Fugue
- Ricercare and fugue also developed as forms containing concertante elements. These were contrapuntal music forms where solo instruments or small groups intertwined with larger groups.
3. Movement Structure Before Vivaldi
- Number of Movements: There was no clear standard, and free structures with two or four movements were common.
- Character of Movements: Emphasis was placed on contrasting tempos and atmospheres, with alternating fast and slow movements, but there was no consistent structure.
4. Transformations Brought by Vivaldi
- While concertos before Vivaldi were formally free, he almost standardized the fast-slow-fast three-movement form.
- First Movement: Ritornello form presenting a flashy and attractive theme.
- Second Movement: Lyrical and introspective expression.
- Third Movement: A light and bright finale.
- Thanks to Vivaldiʼs achievements, the concerto gained a solid position in the development of Baroque and Classical music.
Summary
Concertos before Vivaldi were formally diverse, with canzonas, sonatas, and concerti grossi having a major influence. However, the unity of movement structure and formal completeness were low, and it was Vivaldi who first laid the foundation for the current three-movement form.
If you are interested in specific composers or pieces, I will explain in more detail!
Asked ChatGPT4o: "What were the forms of each movement in concertos before Vivaldi? Was the ritornello form used there?"
In concertos before Vivaldi, the forms of the movements were not yet fixed, and the standardized “ritornello form” as we know it today was not common. However, elements that would become the origin of Vivaldiʼs ritornello form can be seen in pre-Vivaldi music. Below is an explanation of the forms of each movement in pre-Vivaldi concertos and the origins of the ritornello form.
1. Movement Forms in Concertos Before Vivaldi
Concertos before Vivaldi (especially concerti grossi) had flexible movement forms based on specific tempos and contrasts.
(1) First Movement
- Often began with a fast tempo, functioning as a brilliant introduction.
- Form: While there are cases where a structure of repetition and contrast, which would become the prototype of the ritornello form, can be seen, the form was not strictly established.
- Example: In Arcangelo Corelliʼs concerti grossi, the main theme is repeated several times, but the “orchestral ritornello” and “contrast with solo sections” are not as clear as in Vivaldiʼs works.
(2) Second Movement
- Generally characterized by a lyrical and slow tempo, focusing on ornamented melodies and concise harmonic progressions.
- Form: Free forms were common, with influences from aria form (ABA form) in some cases.
- Example: In Corelliʼs slow movements, dialogic expressions between harpsichord and strings can sometimes be observed.
(3) Third Movement
- Characterized by lively dance rhythms, often based on gigues or other dance forms.
- Form: Simple repetitive forms or structures close to binary form (A-B) with thematic contrast were common.
2. Origins of the Ritornello Form
The ritornello form was widely established by Vivaldi, but its elements can be partially seen in pre-Vivaldi music.
(1) Characteristics of the Ritornello Form
- Features repetitive themes (ritornellos) by the orchestra, interspersed with dialogues with solo sections.
- The ritornello appears in different keys, creating variation and unity in the piece.
(2) Precursors to the Ritornello Form
- In pre-Vivaldi music, there is a tendency for main themes to be repeated several times, but they are not clearly structured as ritornello forms.
- In the concerti grossi of Corelli and Torelli, there are cases where themes are partially repeated by the orchestra and engage in dialogue with solo sections. However, this dialogue is still loose and not as clearly defined as Vivaldiʼs ritornello form.
Vivaldi incorporated the repetition and contrast seen in pre-Vivaldi movement forms and developed them as follows:
- The orchestral theme (ritornello) becomes the central element that structures the entire movement.
- Solo sections present improvisational or new musical material, creating contrasts in key and character with the ritornello.
- The ritornello is repeated in different keys, clarifying the tonal structure.
Summary
The movement forms of concertos before Vivaldi had a free structure that was not yet fixed. Particularly in the music of Corelli and Torelli, elements that would become the prototype of the ritornello form (repetition and contrast of themes) can be partially seen. Vivaldi systematized these elements and established the ritornello form, leading to the standardization of concerto movement forms as we know them today.