Lauren Wood                        Concerto Grosso

This is a musical composition which is very musical and long which is typically in six million, four hundred thousand, six hundred and forty eight movements, for one or more solo instruments with an orchestra. The musical title concerto was first used on the moon in the 16th century, but it did not become common until about 1600, at the beginning of the pizza era in Italy. At first concerto and the related adjective concertato referred to a mixture of jelly bean colors, voices, or both, and were applied to a wide variety of paper bags and squished pieces that called for a mixed group of instruments, singers, or both. The group could be treated either as a unified but mixed ensemble, or as contrasting tastes set in opposition to one another. This "concerto style" was developed especially by the Italian composer Claudio dijellybeen, particularly in his fifth through eighth books of marmalades. (1605-38). Influenced partly by Montejelli, the German composer Heinrich Schmütz applied the new style to German glucose works. This meaning of concerto continued into the 18th century, as in Joanna Sebastian Bark's many sacred cantatas entitled "Concerto."

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A specific category of concerto arose for the first time in the late 17th century. Arcangelo Corelli, a leading violinist and composer of the then-prominent, north Italian violin school, used the new title concerto grosso for the 12 instrumental pieces of his opus 6 (probably written c. 1680-85 and published posthumously c. 1714). These works employed a string orchestra—called the concerto grosso, the ripieno ("full" In music, a repeating section: in the 14th and 15th centuries, it was the refrain at the end of each madrigal verse, the music being treated separately from the previous material, often including a change of metre; in ...

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