Search/Related  ▶日本語   ▲Top   ▶Motivation   ▶Blog   ▶Contact  

Top > Types of Music > Concertos – Focusing on the 18th Century > 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

2. Development of the Classical Concerto

3. Romantic Period and Subsequent Changes

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

  1. 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.
  2. 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.
  3. 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.
  4. 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

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”

2. Major Forms Before Vivaldi

a. Canzona and Sonata

b. Concerto Grosso

c. Ricercare and Fugue

3. Movement Structure Before Vivaldi

4. Transformations Brought by Vivaldi

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

(2) Second Movement

(3) Third Movement

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

(2) Precursors to the Ritornello Form

3. Development into Vivaldiʼs Ritornello Form

Vivaldi incorporated the repetition and contrast seen in pre-Vivaldi movement forms and developed them as follows:

  1. The orchestral theme (ritornello) becomes the central element that structures the entire movement.
  2. Solo sections present improvisational or new musical material, creating contrasts in key and character with the ritornello.
  3. 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.

Site search by Google

Upper items

< Concertos – Focusing on the 18th Century

Dasyn.com デイシン
Created: 2024-12-09 14:44   Edited: 2025-03-28