Concerto grosso

A Baroque concerto form that contrasts a small group of soloists, the concertino, with a larger ensemble, the ripieno or tutti. Its movements often alternate between these groups.

Concertino: The small group of soloists in a concerto grosso. Its passages contrast with the larger ensemble's sound.
Arcangelo Corelli: An Italian Baroque composer and violinist whose concerti grossi became models for the genre. His published concerti grossi helped establish the form’s prestige and conventions.
Concerti grossi, Op. 6 (Corelli): A set of twelve concerti grossi published by Arcangelo Corelli in 1714. The collection became a central model for later composers of the form.
Solo concerto: A concerto form that features one soloist against an accompanying ensemble. It centers on one featured soloist rather than a concertino group.
Ripieno: The larger instrumental group in a concerto grosso, set against the concertino. It supplies the fuller ensemble passages that answer or surround the soloists.
Alessandro Stradella: An Italian Baroque composer associated with early experiments in contrasting instrumental groups. His works helped shape the ensemble contrast later central to the concerto grosso.
Brandenburg Concertos: Six concertos by Johann Sebastian Bach, each using distinctive combinations of soloists and ensemble. They use varied solo groupings rather than a consistent concertino-and-ripieno pairing.
Double concerto: A concerto that features two soloists against an ensemble. Its paired soloists differ from the concerto grosso’s potentially larger group.
Tutti: A musical passage performed by the full ensemble rather than a soloist or subgroup. The full ensemble often alternates with the concertino.
Baroque music: European art music from roughly 1600 to 1750, marked by tonal harmony and elaborate instrumental and vocal styles. The concerto grosso emerged within this musical period.

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