roeder's 'a history of the piano concerto' has sort of done this (explains difficulty level - or just plain difficulties of the concertos). also, the book helps if you are attempting to analyze a specific concerto.
concertos, according to this book, originated when (in the late 16th and early 17th centuries) venetian composers created some dramatic works with antiphonal treatments - with the alternation of two or more performing forces. he also mentions the architectural design of the time helped spur the ideas. musical life around st. marks was highlighted by the cathedral's spacious design that permitted the placement of two organs on facing balconies and the arrangement of musicians in clearly differentiated locations. antiphonal effects with choirs were common. composers focused on broad, bold effects, not nuances.
the fleming adrian willaert (c 1490-1562) is considered the founder of the venetian school. 'willaert was born in flanders and moved to rome' where he was appointed maestro di cappella in st mark's in 1527. he did not invent the broken choir but he exploited it. his famous 'salmi spezzati (1550) are double-choir settings of psalms. his pupil, andrea gabrieli introducted the element of concertato to the polychoral construction 'and moved byond the mere juxtaposition of essentially similar choirs. he enhanced the element of contrast through the use of various combinations of voices and instruments.'
this ventian school culminated in the work of giovanni gabrieli (1557-1612) who was a nephew and pupil of andrea gabrieli. he started writing (with terms) concerto and symphony. some three dozen of his motets survive (used on x-mas and easter) and are in three published collections: the concerti, the sacrae symphoniae part i, and part ii.
just thought that this was interesting because often the concerto idea is attributed to bach. but, it was actually started before his time.
Topic: The Ultimate Concerto/Piano-Orchestra Thread!!!!