The Ideas Of The So-Called ‘New German School’ And The Absolute Composers Of The Late 19th Century Seemed To Be In Direct Opposition. Is This Observable In The Music Of, Say, Liszt And Brahms?

How much of a development can be observed between the Opus 6 concertos of Corelli and the Opus 3 concertos of Vivaldi?


The textural idea of the concertato approach originated form the trio sonata. Composers of the late 17th century would merely juxta pose to create to contrast and labelled this as their concerti. This was not an original form. It was only later that the term was applied to the available form that was present at the moment. Arcangelo Corelli (1653-1713) played an integral role in the profound development of the concerto. His twelve (12) concertos were written in 1680s and published as his opus 6 in 1714 after his death.[1] These publications were about the same time ...

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speed and they are generally sorter in length. Whereas, his secular works has five movements and the sections are more extended. The normal form alternates slow fast slow fast and most often finishes with a light Giga, eg. 1 Concerto Grosso No. 12 page 231 [2], or a Minuetto. Eg.2 Concerto Grosso No. 9, page 181. The composer most commonly uses one of the slow movements as his introduction. The faster movement are sometimes dance like..

Corelli's concertino was a trio group with the instrumentation of two violins and a cello. The gross was played by an orchestra. Corelli is now able to have more instruments on individual lines. Also, with the introduction of the viola, he was able to add a fourth line. This provided a fundamental difference in the in the texture in the sense that it significantly filled the inner parts. The composer is now able to expand his counterpoint across the orchestra. Corelli refuses to take a crude or simplistic attempt to the style ...

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dances.

Corelli is known for manipulating the craft of creating very smooth and interesting melodic lines. His music is idiomatic and his use of virtuosity was never dominates. It was suitable for the medium. Eg.4, In the Minuet section of his Concerto Grosso No. 1 page 2 Bar 12-14, the Composer begin using the concertino, with a slight virtuosic embellishment in the first violin part and violin two and the cello lightly accompanies on the harmony. Like the trio sonata, his harmonic language is fast moving. Owing to the fact that most of the solo players at the time were specialist, the stylistic playing and melodic interplay were predominantly in the concertino. A typical eg of ...

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The Ideas Of The So-Called ‘New German School’ And The Absolute Composers Of The Late 19th Century Seemed To Be In Direct Opposition. Is This Observable In The Music Of, Say, Liszt And Brahms?. (2012, April 18). Retrieved July 21, 2018, from http://www.essayworld.com/essays/Ideas-So-Called-New-German-School/100768
"The Ideas Of The So-Called ‘New German School’ And The Absolute Composers Of The Late 19th Century Seemed To Be In Direct Opposition. Is This Observable In The Music Of, Say, Liszt And Brahms?." Essayworld.com. Essayworld.com, 18 Apr. 2012. Web. 21 Jul. 2018. <http://www.essayworld.com/essays/Ideas-So-Called-New-German-School/100768>
"The Ideas Of The So-Called ‘New German School’ And The Absolute Composers Of The Late 19th Century Seemed To Be In Direct Opposition. Is This Observable In The Music Of, Say, Liszt And Brahms?." Essayworld.com. April 18, 2012. Accessed July 21, 2018. http://www.essayworld.com/essays/Ideas-So-Called-New-German-School/100768.
"The Ideas Of The So-Called ‘New German School’ And The Absolute Composers Of The Late 19th Century Seemed To Be In Direct Opposition. Is This Observable In The Music Of, Say, Liszt And Brahms?." Essayworld.com. April 18, 2012. Accessed July 21, 2018. http://www.essayworld.com/essays/Ideas-So-Called-New-German-School/100768.
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PAPER DETAILS
Added: 4/18/2012 12:12:50 PM
Submitted By: basu
Category: Music & Musicians
Type: Premium Paper
Words: 1738
Pages: 7

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