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Why could a Baroque court use amateur musicians in concerto grosso performances?

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caricature of Antonio Vivaldi — 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, “Il Prete rosso Compositore di Musica che fece L'opera a Capranica del 1723” (“The red priest, composer of music who made the opera at Capranica [College in Rome] of 1723”).

In the Baroque era, the concerto grosso was structured around the contrast between a small group of expert soloists (the concertino) and a larger ensemble (the full orchestra). This specific arrangement allowed Baroque courts to utilize amateur musicians—often servants who could play instruments in addition to their regular duties—to perform the full-orchestra parts, which were relatively simple.

By assigning the more demanding, virtuosic passages to a few professional musicians hired specifically for their expertise, the court could effectively manage its musical resources. This functional division of labor provided economic and practical advantages for court administrators, enabling high-quality performances even when the ensemble included members with varying levels of skill. This approach remained viable as long as the distinction between the simpler orchestral parts and the more complex solo parts was maintained within the composition.1