I’ve often opined that “classical” music (also called “art” music to distinguish it from the time period) is the “rock” music of it’s age. You have the dysfunctional artists (why do you think they call them divas?), the groupies, and-
a cruel and shallow money trench, a long plastic hallway where thieves and pimps run free, and good men die like dogs. There’s also a negative side.
Just as in contemporary times there are works that feature the talents of a small group and those that highlight a virtuoso individual performer.
And that is the difference between a Sonata and a Concerto. A Sonata is a piece of several movements composed for one or two instruments as an ensemble. A Concerto is a piece of several movements featuring a soloist accompanied by an orchestra or band. The Sonata is the older form and originally meant a work without a vocal component (as opposed to a Cantata which means, literally, “to sing”).
The essential component here is several movements. In Baroque music there were two types of Sonata- Sonata da Chiesa, which is one suitable for Church and always consists of several movements, “a slow introduction, a loosely fugued allegro, a cantabile slow movement, and a lively finale in some binary form suggesting affinity with the dance-tunes of the suite“, and a Sonata da Camera which was used at Court and basically a Prelude and then a Medley of popular dance tunes.
Rock, what am I telling you?
Gradually the form of the Chiesa came to predominate along with the content of the Camera so that during what we can properly call the Classical era the format of a Sonata evolved to 4 movements rather than 3 (or 2) including an Allegro with exposition, development, and recapitulation; a slow movement, an Andante, an Adagio or a Largo; a dance movement, usually a Minuet or a Scherzo featuring a trio; and a big windup, often a Rondo. Because it was “art” music, melodies and rhythms were frequently repeated with variations in tempo and key and sometimes inverted and reversed notation. Think of it as “sampling” especially as most of it was stolen from whatever people were grooving to at the moment.
As noted the Sonata is mostly scored for very small groups, typically a piano or harpsicord and the featured intrument. So it’s like hiring the local garage band (keyboard, guitar, drums?) to play your backyard party.
A little aside-
I was studying (hah!) in Syracuse and my next door neighbor needed a ride to his buddy’s down in Binghamton where they were having a big blow out. I already had plans for that day but I had some time so I said sure. I got him there and helped the band set up and looked at my watch and said- “Woops, gotta go.”
What?! You’re not going to stay for the party?
I have another party. I’ll pick you up tomorrow.
Anyway I come back the next day and as I thought the party is still happening and other than having to pick my way through the beer cans and mud I didn’t miss a thing. He, on the other hand, was totally impressed.
So, like that in wigs and frock coats.
A Concerto is an entirely big deal, like tickets for Springsteen. There’s Bruce, and then there’s the band.
Once you have a background in the forms I expect I’ll be reduced to 17th to 19th century gossip and calumny which suits me just fine. CT stands for COMPLETELY TRUE! (also Connecticut where we’re happy to sell you a chunk of wood and call it Nutmeg). Today I’ll highlight 4 pieces, a Sonata and Concerto by Vivaldi from the Baroque period when the form was developing, and a Sonata and Concerto by Mozart which represents the Classical era archtype.
Vivaldi Sonata for Bassoon and Harp in A minor
Vivaldi Concerto for Two Cellos in G minor
Mozart Violin Sonata No 32 in B flat major
Mozart: Clarinet Concerto in A major
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