Editing Concerto grosso (section)

== History ==
The form developed in the late seventeenth century, although the name was not used at first. [[Alessandro Stradella]] seems to have written the first music in which two groups of different sizes are combined in the characteristic way. The name was first used by [[Giovanni Lorenzo Gregori]] in a set of ten compositions published in Lucca in 1698.<ref>[http://www.treccani.it/enciclopedia/giovanni-lorenzo-gregori_(Dizionario-Biografico)/ Treccani ''Dizionario Biografico'']</ref>

The first major composer to use the term ''concerto grosso'' was [[Arcangelo Corelli]]. After Corelli's death, a collection of twelve of his ''concerti grossi'' was published. Not long after, composers such as [[Francesco Geminiani]], [[Pietro Locatelli]], [[Giovanni Benedetto Platti]] and [[Giuseppe Torelli]] wrote concertos in the style of Corelli. He also had a strong influence on [[Antonio Vivaldi]].<ref>{{cite web |url=https://www.britannica.com/art/concerto-grosso-music |title=Concerto Grosso |website=Britannica |access-date= October 6, 2016}}</ref>
{{listen
 | type        = music
 | filename    = Corelli - Concerto Grosso Op. 6 No. 4 - 1. Adagio - Allegro.ogg
 | title       = Corelli, Concerto Grosso Op. 6 No. 4 - 1. Adagio - Allegro
 | description = Performed by the Advent Chamber Orchestra
}}
Two distinct forms of the ''concerto grosso'' exist: 
# the ''[[Sonata da chiesa|concerto da chiesa]]'' (church concert) 
# the ''[[concerto da camera]]'' (chamber concert)
The ''concerto da chiesa'' alternated slow and fast movements; the ''concerto da camera'' had the character of a [[suite (music)|suite]], being introduced by a [[Prelude (music)|prelude]] and incorporating popular dance forms. (See also [[Sonata]] for a discussion about sonatas ''[[Sonata da camera|da camera]]'' and ''[[Sonata da chiesa|da chiesa]]''.) These distinctions blurred over time.<ref name="Concerto grosso">{{cite web |url=http://www.fact-index.com/c/co/concerto_grosso.html |title=Concerto grosso |access-date=October 6, 2016}}</ref> Corelli composed 48 [[trio sonata]]s, 12 violin and continuo sonatas,<ref>D. D. Boyden: "Corelli's Solo Violin Sonatas ''Grac'd'' by Dubourg", ''Festskrift Jens Peter Larsen'', ed. N. Schiørring, H. Glahn and C. E. Hatting (Copenhagen, 1972)</ref> and 12 concerti grossi.

Six sets of twelve compositions, [[Publications by Friedrich Chrysander|published]] between 1888 and 1891 by [[Friedrich Chrysander]], are authentically ascribed to Corelli, together with a few other works.
* Opus 1: 12 [[Sonata da chiesa|''sonate da chiesa'']] (trio sonatas for 2 violins and [[basso continuo|continuo]]) (Rome 1681)
* Opus 2: 12 ''[[Sonata da camera|sonate da camera]]'' (trio sonatas for 2 violins and continuo) (Rome 1685)
* Opus 3: 12 ''sonate da chiesa'' (trio sonatas for 2 violins and continuo) (Rome 1689)
* Opus 4: 12 ''sonate da camera'' (trio sonatas for 2 violins and continuo) (Rome 1694)
* Opus 5: 12 ''Suonati a violino e [[violone]] o [[harpsichord|cimbalo]]'' (6 ''sonate da chiesa'' and 6 ''sonate da camera'' for violin and continuo) (Rome 1700) The last sonata is a set of [[Variation (music)|variations]] on [[Folia|''La Folia'']].
* [[Twelve concerti grossi, op.6 (Corelli)|Opus 6]]: 12 concerti grossi (8 concerti da chiesa and 4 concerti da camera for [[Concertino (group)|concertino]] of 2 violins and [[cello]], string [[ripieno]], and continuo) ([[Amsterdam]] 1714)
Corelli's ''concertino'' group consisted of two violins and a cello, with a [[string section]] as ''ripieno'' group. Both were accompanied by a ''[[basso continuo]]'' with some combination of harpsichord, organ, lute or [[theorbo]].<ref name="Concerto grosso" /> [[George Frideric Handel]] wrote several collections of ''concerti grossi'' ([[Concerti Grossi, Op. 3 (Handel)|Op. 3]] and [[Concerti grossi, Op. 6 (Handel)|Op. 6]]), and several of the ''[[Brandenburg Concertos]]'' by [[Johann Sebastian Bach]] also loosely follow the ''concerto grosso'' form.

The ''concerto grosso'' form was superseded by the [[solo concerto]] and the [[sinfonia concertante]] in the late eighteenth century, and new examples of the form did not appear for more than a century. In the twentieth century, the ''concerto grosso'' has been used by composers including [[Igor Stravinsky]], [[Ernest Bloch]], [[Ralph Vaughan Williams]], [[Bohuslav Martinů]], [[Malcolm Williamson]], [[Henry Cowell]], [[Alfred Schnittke]], [[William Bolcom]], [[Heitor Villa-Lobos]], [[Andrei Eshpai]], [[Eino Tamberg]], [[Krzysztof Penderecki]], [[Jean Françaix]], [[Airat Ichmouratov]], [[Philip Glass]] and [[Paul Ben-Haim]]. While [[Edward Elgar]] may be considered a modern composer, his romantic [[Introduction and Allegro (Elgar)|''Introduction and Allegro'']] strongly resembled the instrumentation setup of a concerto grosso.<ref>{{cite web| url=http://www.musicweb-international.com/Programme_Notes/elgar_introallegro.htm |title=Elgar – Introduction and Allegro for Strings |access-date=October 6, 2016}}</ref>