![]() ![]() 4 of the second set) are to be found no less than six places marked organo ad libitum, and with a pause over the rests in the accompaniments, indicating that the player (that is to say, he himself) was to improvise. In the second movement of his Organ Concerto in D minor (No. It should be mentioned here that Handel was one of the first, if not the first, to introduce opportunities for extempore performance on the part of the soloist, thus anticipating the 'cadenza,' an important feature of the modern concerto, to be spoken of presently. Thus the sixth consists of a Larghetto, Allegro ma non troppo, Musette, and two Allegros, the second of which (though not so entitled) is a minuet while the eighth contains an Allemande, Grave, Andante allegro, Adagio, Siciliana, and Allegro. These works are concertos in the modern sense, as regards the treatment of the solo instruments but their form is as varied as possible. As examples of the freedom of which he makes use, may be quoted the movements of two of his 'Twelve Grand Concertos' for two violins and violoncello soli, with accompaniment for stringed orchestra. With Handel, on the other hand, the three-movement form is the exception. The two concertos named above are, exceptionally, the former in four and the latter in only two movements. In the whole of his piano concertos, as well as in those for one or two violins, we find an allegro, a slow movement, and a finale in quick time-generally 3-8. ![]() With Bach we find a preference for the three-movement form at present in use. The form, moreover, of the older concerto was much freer than now. For instance, the first of Handel's so-called 'Oboe Concertos' is written for strings, two flutes, two oboes, and two bassoons, and excepting in occasional passages these are treated orchestrally rather than as solo instruments while of Bach we have a concerto for violino piccolo, three oboes, one bassoon, and two horns, with string quartet, and another for three violins, three violas, three violoncellos, and double bass, neither of which possess the characteristics of a modern concerto. Many of the specimens of this form in the works of the masters named more nearly resemble symphonies than concertos in the modern acceptation of the term. 'Concerto,' though applied exclusively to instrumental music, had a less restricted signification than is given to it in the present day. From the first it resembled that of the sonata and as the latter grew out of the suite, the movements becoming larger in form and with more internal cohesion, so it was also with the concerto: there is as much difference between a concerto by Bach and one by Beethoven as there is between the 'Suites Anglaises' and the 'Waldstein' sonata. The form was developed by Corelli, Geminiani, and Vivaldi. Soon other instruments were added to the organ and ultimately single instrumental movements in the sacred style were written which also received the name of 'Concerti da Chiesa.' The real inventor of the modern concerto as a concert piece was Giuseppe Torelli, who in 1686 published a 'Concerto da Camera' for two violins and bass. It was first employed by Ludovico Viadana, who in 1602–3 published a series of motets for voices and organ, which he entitled 'Concerti ecclesiastici.' In this sense the word was used as equivalent to the Latin 'concentus,' and such works were called 'Concerti da Chiesa' (Church Concertos). 14, originally published as 'Concert sans orchestre.' The word was however at one time used differently. This name is now given to an instrumental composition designed to show the skill of an executant, and which is almost invariably accompanied by orchestra-one exception being Liszt's 'Concert Pathétique' for two pianos, and another Schumann's Sonata op. ![]()
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