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Concerto - The Baroque concerto grosso (c. 1675–1750): Late in the 17th century, within a generation after the vocal-instrumental concerto had last flourished in Germany, the concerto grosso began to assume a clear identity of its own in Italy and soon after in Germany and beyond.
A concerto (/ kənˈtʃɛərtoʊ /; plural concertos, or concerti from the Italian plural) is, from the late Baroque era, mostly understood as an instrumental composition, written for one or more soloists accompanied by an orchestra or other ensemble.
Concerto grosso, common type of orchestral music of the Baroque era (c. 1600–c. 1750), characterized by contrast between a small group of soloists (soli, concertino, principale) and the full orchestra (tutti, concerto grosso, ripieno).
It proceeds to the Baroque era (about 1580 to 1750), which was the first main era of the concerto, including the vocal-instrumental concerto in the late 16th and 17th centuries and, especially, the concerto grosso in the late 17th and early 18th centuries.
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The concerto grosso (pronounced [konˈtʃɛrto ˈɡrɔsso]; Italian for big concert (o), plural concerti grossi [konˈtʃɛrti ˈɡrɔssi]) is a form of baroque music in which the musical material is passed between a small group of soloists (the concertino) and full orchestra (the ripieno, tutti or concerto grosso).
While concertos were being written for almost every imaginable instrument as soloist with orchestra, together with various combinations, the harpsichord remained the poor workhorse of baroque music, its purpose being to act as continuo providing a background harmonic base and a thump to keep the orchestra in time.
