ARCANGELO CORELLI (1653-1713)

Concerto Grosso in G minor Op. 6 No. 8 is known as the Christmas

Concerto. The concerto bears the inscription ‘Fatto per la note di
Natale’ (Made for the night of Christmas). The makeup of Corelli’s
concerto grosso consisted of a concertino (a small ensemble of solo
instruments against a ripieno (a larger group of instruments). The work
is structured as a concerto da chiesa (church concert), in this case
expanded from a typical four movement structure to six.

Movements

1. Vivace, ¾ - Grave, sostenuto e come sta, 4/2

2. Allegro, common time
3. Adagio – Allegro- Adagio common time, E flat major
4. Vivace, ¾
5. Allegro, cut time
6. Largo. Pastorale ad libitum, 12/8. G major

The formal structure of this concerto is fluid. The individual

movements are not built around recurring themes (ritornello), but
instead move through a series of relatively brief sections that present
contrasting thematic ideas in different keys and tempos.

The normal slow-fast-slow organization of the concerto da chiesa

underlies everything that happens in the Christmas Concerto.
However, there are a few sudden changes and differences.
- A 6-bar introduction
- An Allegro episode within the third movement

CONCEPTUAL ANALYSIS

Introduction of 6 bars with short forte chords in a declamatory style.

Homophonic texture.

Grave section is in a fugal style that is full of suspensions and

syncopated rhythms. These suspensions and tied notes over the
barlines create one undulating phrase that concludes with a tierce de
picardie in G Major. Both the ripieno and concertino play largely with
corresponding parts in unison creating a full texture.
Allegro section is driven by rhythmic syncopation and harmonic
suspensions. The first and second violin play on alternate beats. The
ripieno takes on a different role in this movement and punctuates
cadences and adds to the momentum. It alternates between playing
different and similar material as the concertino and sometimes is
completely absent. This offers variety with the texture.

Adagio is in ternary form with a small Allegro interjecting between

repeats.

Vivace and Allegro sections are two fast sections, short in length and
homogenous in style.

The second movement is in the usual binary form, and is built around
Corelli's favorite kind of staggered, imitative suspensions. The fourth
movement, Vivace, which would normally be the finale, is very short, so
as to make room for the sizeable fifth movement, the body of which is
an Allegro, but the true heart of which is that most famous of all
Corelli music: the lovely, serene Pastorale (Largo).