OCR GCSE Music: The Concerto Through Time (Area of Study 2) - Baroque, Classical and Romantic concertos

What this area covers

This area is Area of Study 2, The Concerto Through Time, which traces the concerto from the Baroque (about 1650 to 1750), through the Classical period (about 1750 to 1820), to the Romantic (about 1820 to 1910). A concerto contrasts one or more soloists with a larger ensemble. It is tested in the J536/05 listening and appraising exam, where you place unfamiliar extracts in their period and appraise how the soloist and ensemble are used. The area covers the three periods, the structures and forms, the instruments and texture, and the listening skill.

This guide ties together the six dot-point pages for the area.

The Baroque concerto

The earliest stage uses two types: the concerto grosso (a small solo group, the concertino, against the full ensemble) and the solo concerto (one soloist). Its structure is ritornello form (a returning tutti theme alternating with solo episodes), its texture rests on the basso continuo (harpsichord plus a bass instrument), its dynamics are terraced (sudden), and its forces are small. Composers: Corelli, Vivaldi, Bach.

The Classical concerto

The Classical concerto has a single soloist (often piano) in three movements, the first in a ritornello-sonata hybrid with a cadenza near its end. Textures are clear and balanced (periodic phrasing, Alberti bass), dynamics are now gradual, the orchestra is larger (paired woodwind, horns), and the harpsichord continuo has gone. Composers: Haydn, Mozart.

The Romantic concerto

The Romantic concerto puts a virtuoso soloist against a large, colourful orchestra (full brass, percussion). The harmony is chromatic and expressive, the melodies long and lyrical, the dynamic range very wide, and rubato common. The cadenza is often integrated into the movement. Composers: Brahms, Tchaikovsky, Grieg.

Structure, instruments and texture

A concerto is usually in three movements (fast, slow, fast). The fast movements use ritornello form in the Baroque and a sonata-influenced form in the Classical and Romantic concerto; finales are often rondos (ABACA). The forces grow from small Baroque strings with continuo to the huge Romantic orchestra, and the defining texture throughout is the solo-tutti contrast (full ensemble against lighter solo).

Recognising the period by ear

The listening skill is to date an extract from a cluster of consistent features (forces, dynamics, harmony, structure, the cadenza) and to appraise by working through the elements. Use several features that agree, not one clue, and tie every observation to what you actually hear.

How to revise this area

1. Learn the three period checklists. Forces, dynamics, harmony and structure for the Baroque, Classical and Romantic concerto.
2. Listen widely in each period. Build an ear for the sound of Vivaldi, Mozart and Tchaikovsky so an unfamiliar extract feels familiar.
3. Master the structures. Ritornello, the sonata-influenced first movement, the rondo finale, and where the cadenza sits.
4. Hear the texture. Practise spotting the solo-tutti contrast and saying who has the melody.
5. Date from a cluster. Always justify a period with three consistent features tied to the extract.

The dot points in this area

Each links to a focused answer page: the Baroque concerto, the Classical concerto, the Romantic concerto, concerto structure and form, concerto instruments and texture and recognising the concerto by ear.