Concerto Grosso Op 6 No 7

The Venetian Instrumental Concerto During Vivaldi’s Time

“…29 The term 'multiple concerto' (Ger. Gruppenkonzert) should be understood as covering works with one instrument or multiple instruments per part exemplifying the Roman concerto grosso, with the ensemble divided into concertino and ripieno, 30 as well as ensemble concertos with more than one soloist, including double and triple concertos (Ger. Doppel-Trippelkonzert).…”

“…The main musical institution of Bergamo was the chapel of the Basilica of Santa Maria Maggiore. 30 During the seventeenth century, instrumental output flourished there, and numerous canzonas and sonatas were composed. Around the turn of the eighteenth century, that tradition was continued with distinction by Marino, who wrote orchestral sonatas and his first concertos for the Sacra Orchestra, as the Bergamasque ensemble was called.…”

“…They faithfully reflect German and Austrian traditions, perfectly corresponding to Dresden sources and to performance remarks included by Georg Muffat in his Armonico Tributo and Außerlesener Instrumentl-Musik. 30 It is unclear how Pietro Locatelli wished his concertos Op. 3 from 1733 to be performed.…”

“…Far less often, composers employ variation form, through-composed form and form shaped according to the moto perpetuo principle in the finales of their concertos. 30…”

“…3 No. 11/iii has three statements (bars 1-20, [29][30][31][32][33][34][35][36][37][38][39][40][41][42][43][44][52][53][54][55][56][57][58][59][60][61][62][63][64][65][66][67][68][69], interspersed with two solo episodes from the concertino that refer to the subject (bars 21-29, 44-51). The second statement is modulating; here the composer alters somewhat the melody of the theme and bases the whole of the fugue on the dynamic and quite interesting tonal plan i-v-iv-i, whereas Marcello employs only the relations i-Vi.…”