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Where were concerto grossi typically performed in the Baroque era?
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concerto
Caricature of Antonio Vivaldi, pen and ink on paper by Pier Leone Ghezzi, 1723; in the Codex Ottoboni, Vatican Library, Rome. The inscription below the drawing reads, âIl Prete rosso Compositore di Musica che fece L'opera a Capranica del 1723â (âThe red priest, composer of music who made the opera at Capranica [College in Rome] of 1723â).
In the Baroque era, the concerto grosso was primarily cultivated within the environment of the court rather than the church.1
These compositions were typically performed at:
- State events: Including receptions for distinguished guests and state banquets.1
- Social gatherings: Such as serenades and assemblies of musical amateurs and virtuosi.1
- Court entertainments: They were frequently featured during various entertainments hosted by great princes and lords.1
The concerto grosso served a functional role in these settings, as its structure allowed court administrators to assign simpler orchestral parts to less experienced players or servants, while reserving more virtuosic solo passages for professional musicians. Unlike the earlier vocal-instrumental concerto, which was deeply rooted in the chapel, the concerto grosso emerged as a secular form designed for the express refreshment of the ear.1