BAROQUE architecture was fond of repetition as a method of enhancing and contrasting its meaning and contours. This tendency to echo every idea gains possession of the music of the period, to come to expression in the concerto principle, holding under its spell the musical life of the whole seventeenth century. In our day “concert” may mean a recital, or as “concerto” a certain musical species. In the earlier centuries the term was synonymous with ensemble playing—“consort” in England; but—and this is what interests us particularly—in the seventeenth century it stood for a principle of style, and as a principle it means not the co-operation but the opposition, the rivalry, the pitting against each other of musical bodies.
巴洛克的建筑喜欢重复，以作为加强、对照其内涵与轮廓的一个方法。以回声呼应每一个乐思的倾向占领了这一时期的音乐，表现为concerto原则，控制了整个17世纪的音乐生活。今天，此称可以指一场独奏会，也可以指一种音乐品种—“协奏曲”。但在早几百年里，这个名称是合奏重奏的同义词，等于英国的康索尔特。但在17世纪，也是我们特别感兴趣的，它代表一种风格原则，作为一种风格，它的意思不是合作，而是对抗、竞争、唱对台戏。
维瓦尔第（Antonio Lucio Vivaldi, 1678-1741）巴洛克晚期意大利威尼斯派作曲家，，绰号“红发神父”， Legrenzi弟子，威尼斯乐派先驱者之一，古典交响乐及独奏协奏曲之父，巴洛克装饰艺术促进者，18世纪小提琴大师，现代乐器法奠基人。