Wayne Zhao

The Concerto in the Classical Period

The classical period came with the end of the Baroque era. In the new period, the instrumental style morphed into one of unique characteristics. The concerto replaced the concerto grosso, and small groups of soloist were replaced with single soloists. The classical concerto developed into a structured three movement, fast-slow-fast style. Unlike the concerto grosso in the Baroque, the concerto forgoes the minuet, leaving it with three movements. Also, the classical concerto lacks a scherzo movement. Thus, the concerto is comprised of a fast movement, a second slower movement, and faster rondo movement, lasting anywhere from twenty to forty-five minutes. The first movement is in sonata-allegro form with two expositions. The expositions present two themes for the rest of the movement for the orchestra and the soloist. These two themes are often contrasting in style, and the two are connected by a modulating transition. The first exposition or tutti exposition is usually in the tonic key and represent principal themes throughout the rest of the first movement. It is played mainly by the orchestra. The second exposition or solo exposition uses a contrasting key, played by the soloist that sounds more brilliant and showy. After the expositions, there is a developing section, in which textures of themes and harmonies are explored. There is then a recapitulation, where the music returns to the original theme from the expositions in only the original key. Beyond the normal sonataallegro form, usually a cadenza follows the recap that exhibits the soloists virtuosity. The movement ends with a coda after the cadenza. The second movement juxtaposes with its surrounding movements, as it is a slow movement. Though the movement exhibits less of the soloist skill and talent, it is more lyrical provides excellent contrast to the faster pace. The audience would be able to relax and enjoy the more pronounced emotions of soloist. In Mozarts Flute and Harp Concerto in C major, the Andantino movement really shows off the expressiveness of the harp and flute in a calming

Wayne Zhao melody. The second movement assuages the tension buildup of the first and sets a foil for the third movement to make it more exciting. The last movement of the classical concerto reverts to a faster tempo. It is written in a rondo form, which is in the form ABACABA. The rondo features a lively tempo and lighter quality compared to the second movement. Sometimes there is a cadenza added at the end to finish off. The ending, cadenza or not, highlights the finale of the soloist and finishes off with the original theme again. In the classical era, much importance was placed on balance. For concerti, the delicate balance between the soloist and the orchestra emphasized this preponderance on the balance of the music in the 18th century. Varying in tones and colors, the soloist and the orchestra as a whole were seen as equals by the classical composers. Such as in the double exposition, the first exhibited the orchestra while the second featured the soloist. The 18th century men looked to ancient Greece and Rome and were inspired by their culture and intellectual knowledge. Classicism came with the Age of Enlightenment which focused on liberty, knowledge, reason, and egalitarianism, which is reflected in the music. Thus, the concerto is not a soloist-take-all musical form; it represented what classical composers believed in, showing off solo skill and making great ensemble music. Some of the great works of the classical period feature solo concertos. Prolific composers like Haydn and Mozart wrote many concertos and set the standard for the classical period of music. Mozart in fact composed 27 piano concerti, six for violin, four for French horn, three for flute, and one for each of clarinet, bassoon, and oboe. Most of the 43 concerti became world renown, including Flute Concerto No. 2 in D Major and Piano Concerto No. 24 in c minor. Some even had multiple instruments in combination as soloists for the concerto. Such was the case for Mozarts Sinfonia Concetante for Violin, Viola, and Orchestra and Concert for Flute

Wayne Zhao and Harp in C major. These pieces are exemplars of the classical concerto, featuring the orchestra and the soloists, following the normal three-movement, fast-slow-fast, formula. Listening and playing classical concerti remain popular in modern times. In symphony orchestras around the world, concerti are not just limited to western culture anymore. The orchestra feature professional soloists, which not only exhibits the soloist and allows the soloist to show off technical and musical skill, but also enhances the prestige of the orchestra as a whole, signifying the expanse of repertoire. The classical concerto truly has great influence on new music, as some more recent concertinos and romantic concerti show many of the same foundational characteristics of the classical concerto, even though the style and sound vastly differ. The classical concerto remains one of the pinnacles of classical music at its apex.