1. Structure:
A sonata concerto generally follows the multi-movement structure of a sonata. It often begins with an opening Allegro (fast) movement, followed by andante or Adagio (slow) movement and concluding with a lively finale. However, the number and types of movements can vary depending on the composer and period.
2. Soloist and Orchestra:
Like a concerto, a sonta concerto features a soloist (or a small group of soloists) accompanied by an orchestra. The soloist is usually a keyboard player (pianist or harpsichordist) but could also be a violinist or another instrumentalist.
3. Musical Themes:
As with a sonata, a sonata concerto often revolves around a primary theme and its development throughout the piece. The soloist presents the main theme, and the orchestra provides support and accompaniment. The concerto aspects emerge when the soloist engages in more virtuosic passages and interactions with the orchestra.
4. Rondo and Binary Forms:
Many Sonata concertos incorporate elements of rondo and binary (two- part) forms. Rondo form involves presenting the main theme( the "refrain"), alternating with contrasting episodes. Similarly, binary form consists of two contrasting sections ("A" and "B"), with the "A" section often repeated after the "B" section.
5. Development Sections:
Sonata concertos often include development sections where the main themes are subjected to transformation, Variation or more intensive exploration by the soloist and orchestra.
6. Improvisation:
In earlier periods of music, such as the Baroque era, sonata concertos allowed for the soloist to improvise embellishments, cadenza like sections, and passagework based in on the main themes. This practice gradually diminished in later classical and romantic periods, where composers typically wrote out these sections
Overall, a sonata concerto combines the formal structures and thematic development of a sonata with the use of soloist and orchestra characteristic of a concerto. It creates a dynamic musical experience that highlights both the virtuosity of the soloist and the collective sound of the accompanying ensemble.