4.4 The Rise of the Concerto

The concerto, a musical form featuring a solo instrument with orchestral accompaniment, evolved significantly during the Classical period. Composers like Mozart refined its structure, standardizing the three-movement format and incorporating elements of sonata form. These changes reflected the era's musical tastes and instrumental advancements.

Classical concertos balanced the roles of soloist and orchestra, creating a dynamic dialogue between them. The first movement's double exposition, the lyrical slow movement, and the lively finale showcased both technical virtuosity and expressive capabilities, setting new standards for instrumental performance.

Concerto Evolution in the Classical Period

Transition from Baroque to Classical Concerto

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• Concerto genre transitioned from Baroque to Classical period maintaining fundamental concept of solo instrument contrasting with orchestral ensemble
• Classical concertos featured piano, violin, or woodwind instruments as soloists reflecting changing tastes and instrumental developments of the era (fortepiano)
• Number of movements in Classical concertos standardized to three typically following a fast-slow-fast pattern
• Mozart significantly contributed to Classical concerto development composing over 20 piano concertos that set new standards for the genre (Piano Concerto No. 21)

Structural and Stylistic Innovations

• Classical concerto incorporated elements of sonata form particularly in first movement blending this structure with soloist-orchestra interaction
• Cadenzas became standard feature in Classical concertos typically occurring near end of first movement
  • Improvised or composed passages showcasing soloist's virtuosity
  • Allowed performers to display individual interpretation and technical skill
• Introduction of "double exposition form" or "concerto-sonata form" in first movements
  • Orchestral exposition followed by solo exposition presenting main themes with variations
• Development sections featured intricate interplay between soloist and orchestra exploring and transforming main themes

Structure of the Classical Concerto

First Movement: Modified Sonata Form

• First movement employs modified sonata form often called "double exposition form" or "concerto-sonata form"
• Double exposition consists of orchestral exposition followed by solo exposition
  • Each presents main themes but with variations and elaborations in solo section
• Development section features intricate interplay between soloist and orchestra
  • Explores and transforms main themes introduced in expositions
• Recapitulation usually begins with soloist presenting main themes in tonic key
  • Leads to cadenza near end of movement

Second and Third Movements

• Second movement typically in slower tempo often in ternary (ABA) form or theme and variations
  • Showcases lyrical capabilities of solo instrument (Mozart's Piano Concerto No. 23, second movement)
• Final movement frequently in rondo form (ABACA) or sonata-rondo form
  • Provides lively conclusion highlighting soloist's technical prowess
• Transitions between movements became more seamless in later Classical concertos
  • Sometimes featuring attacca connections or thematic links between movements

Soloist and Orchestra in Classical Concertos

Balance and Dialogue

• Classical concerto established more balanced dialogue between soloist and orchestra compared to Baroque predecessor
• Orchestra assumed more substantial role often introducing themes and participating actively in their development
• Tutti sections where full orchestra plays alternate with solo sections creating dynamic interplay throughout concerto
• Soloist often elaborates on themes introduced by orchestra adding ornamentations, variations, and virtuosic passages

Textural and Collaborative Techniques

• Accompaniment textures in Classical concertos became more varied
  • Ranged from simple chord progressions to complex contrapuntal interactions
• Concept of "Durchbrochene Arbeit" (broken texture) emerged
  • Melodic lines passed between soloist and different orchestral instruments (Mozart's Piano Concerto No. 20)
• Cadential trills by soloist often signal orchestra to re-enter demonstrating collaborative nature of Classical concerto
• Orchestra provides harmonic support and rhythmic foundation for soloist's melodic lines

Virtuosity in Classical Concertos

Technical Demands

• Classical concertos demanded high level of technical proficiency from soloists pushing boundaries of instrumental capabilities
• Rapid scale passages, arpeggios, and complex figurations became standard elements in concerto solo parts
• Range of solo instruments often expanded requiring performers to navigate previously unexplored registers with agility and precision
• Double stops, trills, and other ornamental techniques frequently employed to showcase soloist's virtuosity particularly in string concertos (Mozart's Violin Concerto No. 5)

Expressive and Improvisational Elements

• Cadenzas provided opportunities for soloists to display improvisational skills and technical mastery
  • Often incorporated themes from movement in creative and virtuosic ways
• Integration of lyrical passages especially in slow movements required soloists to demonstrate expressive capabilities alongside technical prowess
• Classical concertos featured challenging rhythmic elements
  • Included syncopations, cross-rhythms, and rapid alternations between solo and orchestral passages
• Soloists expected to maintain clear articulation and precise intonation even in most demanding passages