What is "concerto grosso"

n. (context music English) a musical form, common in the Baroque period, in which contrasting sections are played by full orchestra and by a small group of soloists.

n. a baroque composition for orchestra and a group of solo instruments

The concerto grosso (; Italian for big concert(o), plural concerti grossi ) is a form of baroque music in which the musical material is passed between a small group of soloists (the concertino) and full orchestra (the ripieno or concerto grosso). This is in contrast to the solo concerto which features a single solo instrument with the melody line, accompanied by the orchestra.

The form developed in the late seventeenth century, although the name was not used at first. Alessandro Stradella seems to have written the first music in which two groups of different sizes are combined in the characteristic way. The name was first used by Giovanni Lorenzo Gregori in a set of 10 compositions published in Lucca in 1698.

The first major composer to use the term concerto grosso was Arcangelo Corelli. After Corelli's death, a collection of twelve of his concerti grossi was published; not long after, composers such as Francesco Geminiani, Pietro Locatelli and Giuseppe Torelli wrote concertos in the style of Corelli. He also had a strong influence on Antonio Vivaldi.

Two distinct forms of the concerto grosso exist: the concerto da chiesa (church concert) and the concerto da camera (chamber concert). (See also Sonata for a discussion about sonatas da camera and da chiesa.) The concerto da chiesa alternated slow and fast movements; the concerto da camera had the character of a suite, being introduced by a prelude and incorporating popular dance forms. These distinctions blurred over time.

Corelli's concertino group was invariably two violins and a cello, with a string section as ripieno group. Both were accompanied by a basso continuo with some combination of harpsichord, organ, lute or theorbo. Handel wrote several collections of concerti grossi, and several of the Brandenburg Concertos by Bach also loosely follow the concerto grosso form.

The concerto grosso form was superseded by the solo concerto and the sinfonia concertante in the late eighteenth century, and new examples of the form did not appear for more than a century. In the twentieth century, the concerto grosso has been used by composers such as Igor Stravinsky, Ernest Bloch, Ralph Vaughan Williams, Bohuslav Martinů, Malcolm Williamson, Henry Cowell, Alfred Schnittke, William Bolcom, Heitor Villa-Lobos, Andrei Eshpai, Eino Tamberg, Krzysztof Penderecki, Jean Françaix and Philip Glass. While Edward Elgar may not be considered a modern composer, his romantic Introduction and Allegro strongly resembled the instrumentation setup of a concerto grosso.

Concerto Grosso is a work for string orchestra by Ralph Vaughan Williams. Originally composed in 1950 for a performance by the Rural Schools Music Association conducted by Sir Adrian Boult, the piece is unique in that the orchestra is split into three sections based on skill: Concertino (Advanced), Tutti (Intermediate), and Ad Lib (Novice) which only plays open strings. The piece is in five movements, and performances generally run for 14 minutes.

Eino Tamberg's Concerto Grosso, Op. 5, was composed in 1956. It was awarded a gold medal at the 6th World Festival of Youth and Students the following year and was subsequently performed through both the Eastern and Western Blocs, launching the Estonian composer's career.

Tamberg's Concerto Grosso is scored for a wind quintet consisting of flute, clarinet, trumpet, alto saxophone and bassoon, piano, percussion and a string orchestra, and consists of three movements lasting ca. 25 minutes:

1. Allegro moderato
2. Adagio
3. Allegro molto quasi toccata

A high-spirited neoclassical composition, it is representative of the mild modernism promoted by the Soviet regime though the Thaw after years of harsh artistic repression, and it is notable for its use of the saxophone, which had been banned in 1949 as a decadent instrument. Tamberg would use no less than three saxophones in his next composition, the Symphonic Dances.