Britannica
Sources used in this answer
Why is sonata form often treated more freely in concertos than in symphonies?
Created from Britannica articles
using AI.
AI can make mistakes, so verify using Britannica articles.
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 context of the concerto, sonata form is often treated more freely than in a symphony primarily due to the inherent requirements of the solo instrument and the nature of the musical form itself.1
Several factors contribute to this structural flexibility:
- Virtuosity and Passagework: The concerto is defined by the virtuoso role of the soloist, which necessitates extensive, idiomatic passagework. This technical display often takes precedence over strict adherence to traditional structural designs.12
- The Cadenza: The inclusion of a terminal cadenza in the first movement introduces a period of structural looseness. This extended, improvised flourish allows for a free, brilliant ending that deviates from the standard development and recapitulation patterns found in symphonic movements.12
- Dialogue and Interaction: The concerto is fundamentally built on a dialogue between the soloist and the orchestra. This interaction influences the construction of musical phrases and the blocking of sections, such as the use of a double expositionâwhere the orchestra plays the exposition first in the tonic key, followed by a more elaborate repetition involving the soloist.132
Ultimately, these elements prioritize the competitive and collaborative relationship between the soloist and the ensemble over the rigid application of sonata form.12