# Chamber Concerto



## maestro267 (Jul 25, 2009)

Or, 'Concerto for flute, oboe, clarinet, bassoon, horn, trumpet, trombone, tuba, timpani, percussion, violin, viola, cello, double bass...and orchestra'

I think 'Chamber Concerto' works better...

It's very sketchy at the moment. I haven't yet decided whether the soloists would be in their own group to the side of the conductor, or lined up along the back of the orchestra. For cadenzas, I'm thinking of an entire movement devoted to cadenzas, wherein each soloist has one minute in which to impress (maybe as a (lengthy) bridge between the slow movement and the finale).

Has this sort of thing ever been done before, that you know of?


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## SenorTearduct (Jul 29, 2009)

Yes, it has been done.. It is commonly refered to as a Concerto Grosso.. If you were to do such a thing I would suggest you overlap the solo parts in their parts.. and would highly suggest on using an expanded ritornello-sonata form, where your soloist are diffrent for each soloist section. At least for the first movement... I would also suggest for you to spread the use of your soloist accoridingly to the 3 normal movements, for each feel... like dont use a happy horn for a slow second movement when you could use a cello.. and lastly I suggest your orcherstra (or at least part of it) overlaps into the solo sections, this adds to the flow and can help keep your audiences intrist, as this may be a very long work... If you dont understand, look to Mozarts piano concerto 21 andante, the pizz. strings awalys undertone the piano until the final moments of the solo.


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## PostMinimalist (May 14, 2008)

'Concerto for Chamber Ensemble and Orchestra' perhaps?


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## chillowack (Jul 16, 2009)

Was there supposed to be a composition attached to this post? I don't see one.


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## SenorTearduct (Jul 29, 2009)

No Chillowack.. just a hypothesis for categorization I believe...


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## maestro267 (Jul 25, 2009)

chillowack said:


> Was there supposed to be a composition attached to this post? I don't see one.


Nope. I haven't got anything recorded yet. However, in recent days, I have returned to the idea (experimenting with split-voices on my keyboard), and decided on the structure of the overall piece:

I. Allegro (10 mins)
II. Slow movement (9 mins)
III. Fanfares (14 mins; the central, and longest movement of the work, where each instrument in the chamber ensemble has a cadenza, seperated by a brief orchestral passage) ->
IV. Fugue (5 mins; for soloists only) ->
V. Finale (11 mins)

Total approx length: 49 mins

Also, I've decided to have the soloists along the back of the stage, each one antiphonally seperate from their orchestral counterparts if that's possible. The solo percussionist will play the marimba (I wanted something tuned, and the xylophone sound disappears too quickly for my liking)


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## Sebastien Melmoth (Apr 14, 2010)

Check *Berg*'s Chamber Concerto & *Schönberg*'s First Chamber Symphony (_both for 15 instruments_).


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## Jeremy Marchant (Mar 11, 2010)

Why not throw off the shackles of C18 and C19 formal structures and create a structure for C21?

Stockhausen's _Orchestra finalists_ (1996, scene 2 of his opera _Wednesday _form _Light_) is eleven solos (for oboe, cello, clarinet, bassoon, violin, tuba, flute, trombone, viola, trumpet, double bass) where they do indeed seek to impress against a background of three dimensional _musique concrete_


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