The Classical Music Book

80

THE NEW ORPHEUS

OF OUR TIMES

CONCERTI GROSSI, OP. 6 (1714),

ARCANGELO CORELLI

T

he Italian term “concerto”

was initially used to

describe any music for

voices and added instruments, with

a distinction evolving in the early

17th century between concerti

ecclesiastici (church music) and

concerti di camera (chamber

music). By the late 18th century it

had evolved into the much grander

showcase for virtuosity that is

familiar today, but its roots lie in

the modest setup of a small

group of soloists and a string

ensemble with continuo (bass

line), as developed by the Italian

composer Arcangelo Corelli around

the turn of the 18th century.

IN CONTEXT

FOCUS

The concerto grosso

BEFORE

1610 The publication of

Giovanni Cima’s Sonate

a Tre for violin, cornet, and

continuo—an early example

of secular Italian chamber

music for three instruments.

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.

Corelli’s early Concerti Grossi were

premiered in Rome’s Palazzo Pamphilj,

a dazzling example of Italian Baroque

architecture that reflected the order

and playfulness of the music.

US_080-081_Concerti_Grossi_Corelli.indd 80 26/03/18 1:00 PM