Concerto
A concerto (
The concerto originated as a genre of
In the second half of the 18th century, the
In the second half of the 20th century and onwards into the 21st a great many composers have continued to write concertos, including
Concertos from previous ages have remained a conspicuous part of the repertoire for concert performances and recordings. Less common has been the previously common practice of the composition of concertos by a performer to be performed personally, though the practice has continued via certain composer-performers such as Daniil Trifonov.
Genre
The Italian word concerto, meaning accord or gathering, derives from the Latin verb concertare, which indicates a competition or battle.[3]
Baroque Era
Compositions were for the first time indicated as concertos in the title of a music print when the Concerti by Andrea and Giovanni Gabrieli were published in 1587.[3]
Concerto as a genre of vocal music
In the 17th century, sacred works for voices and orchestra were typically called concertos, as reflected by
Instrumental concerto
The concerto began to take its modern shape in the late-Baroque period, beginning with the concerto grosso form developed by Arcangelo Corelli. Corelli's concertino group was two violins, a cello and basso continuo.[8] In J. S. Bach's Fifth Brandenburg Concerto, for example, the concertino is a flute, a violin, and a harpsichord; although the harpsichord is a featured solo instrument, it also sometimes plays with the ripieno, functioning as a continuo keyboard accompaniment.[9]
Later, the concerto approached its modern form, in which the concertino usually reduces to a single solo instrument playing with (or against) an orchestra. The main composers of concertos of the baroque were
The Baroque concerto was mainly for a string instrument (violin, viola, cello, seldom viola d'amore or harp) or a wind instrument (flute, recorder, oboe, bassoon, horn, or trumpet,). Bach also wrote a concerto for two violins and orchestra.[11] During the Baroque period, before the invention of the piano, keyboard concertos were comparatively rare, with the exception of the organ and some harpsichord concertos by Johann Sebastian Bach.[12]
Classical era
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The concertos of the sons of
C.P.E. Bach's keyboard concertos contain some virtuosic solo writing. Some of them have movements that run into one another without a break, and there are frequent cross-movement thematic references.
C. P. E. Bach wrote five flute concertos and two oboe concertos. Mozart wrote five horn concertos, with two for flute,
Romantic era
In the 19th century, the concerto as a vehicle for virtuosic display flourished, and concertos became increasingly complex and ambitious works. Whilst performances of typical concertos in the baroque era lasted about ten minutes, those by Beethoven could last half an hour or longer. The term concertino (composition), or the German Konzertstuck ("Concert Piece") began to be used to designate smaller pieces not considered large enough to be considered a full concerto, though the distinction has never been formalised and many Concertinos are still longer than the original Baroque concertos.
During the Romantic era the cello became increasingly used as a concerto instrument; though the violin and piano remained the most frequently used.
20th and 21st century
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Many of the concertos written in the early 20th century belong more to the late Romantic school, hence modernistic movement. Masterpieces were written by
However, in the first decades of the 20th century, several composers such as
These changes also affected the concerto as a musical form. Beside more or less radical effects on musical language, they led to a redefinition of the concept of virtuosity that included new and extended instrumental techniques and a focus on previously neglected aspects of sound such as pitch, timbre and dynamics. In some cases, they also brought about a new approach to the role of soloists and their relation to the orchestra.
Two great innovators of early 20th-century music, Schoenberg and Stravinsky, both wrote violin concertos. The material in Schoenberg's concerto, like that in Berg's, is linked by the twelve-tone serial method. In the 20th century, particularly after the Second World War, the cello enjoyed an unprecedented popularity. As a result, its concertante repertoire caught up with those of the piano and the violin both in terms of quantity and quality.
The 20th century also witnessed a growth of the concertante repertoire of instruments, some of which had seldom or never been used in this capacity, and even a concerto for wordless coloratura soprano by Reinhold Glière.[20] As a result, almost all classical instruments now have a concertante repertoire. Among the works of the prolific composer Alan Hovhaness may be noted Prayer of St. Gregory for trumpet and strings, though it is not a concerto in the usual sense of the term. In the later 20th century the concerto tradition was continued by composers such as Maxwell Davies, whose series of Strathclyde Concertos exploit some of the instruments less familiar as soloists.
In addition, the 20th century gave rise to several composers who experimented further by showcasing a variety of nontraditional orchestral instruments within the center of the orthodox concerto form. Included within this group are:
Other composers of this era adopted a neoclassical rejection of specific features which typically characterized the concerto form during the Baroque or Romantic periods. Several of them achieved this objective by incorporating various musical elements from the realm of
Concertos with concert band include:
- Bryant – 2007–2010[relevant?]
- Foss – 2002[relevant?]
- Husa – 1982[34]
- Jacob – 1974[relevant?]
- Jager – 1982[relevant?]
By type
Vocal concerto
20th century:
- Coloratura soprano Concerto: Reinhold Glière[20][relevant?]
Without orchestra
Single solo instrument
Baroque era:
20th century:
Multiple instruments
Baroque era:
- Bach's concerto for two harpsichords, BWV 1061.1
- Telemann's concertos for four violins
20th century:
For one instrumental soloist and orchestra
For bowed string instrument and orchestra
Violin concerto
This section needs additional citations for verification. (April 2021) |
Baroque era:
- Vivaldi:
- Nos. 3, 6, 9 and 12 of L'estro armonico
- La stravaganza
- Six Violin Concertos, Op. 6
- Ten of the Twelve Concertos, Op. 7
- Il cimento dell'armonia e dell'inventione, which includes The Four Seasons
- Five of the Six Concertos, Op. 11
- Six Violin Concertos, Op. 12
- Grosso mogul
- Bach:
Classical era:
- Mozart:
Early Romantic traits can be found in the violin concertos of
20th century:
- Arnold Schoenberg
- Igor Stravinsky
- Alban Berg
- Bartókwrote two concertos for violin.
- Russian composers Shostakovich each wrote two concertos while Khachaturianwrote a concerto and a Concerto-Rhapsody for the instrument.
- Hindemith's concertos hark back to the forms of the 19th century, even if the harmonic language he used was different.
- Three violin concertos from David Diamond show the form in neoclassical style.[relevant?]
- In 1950 Carlos Chávez completed a substantial Violin Concerto with an enormous central cadenza for the unaccompanied violin.[38]
- Dutilleux's L'Arbre des songes has proved an important addition to the repertoire and a fine example of the composer's atonal yet melodic style.[relevant?]
- Other composers of major violin concertos include .
21st century:
Viola concerto
Baroque era:
Classical era:
- Franz Anton Hoffmeister
- Viola Concerto in D major
- Viola Concerto in B-flat major
20th century:
- del Aguila, Denisov, Gagneux, Gubaidulina, Hindemith, Kancheli, Martinů, Milhaud, Murail, Penderecki, Schnittke, Takemitsu, Walton[citation needed]
Cello concerto
This section needs additional citations for verification. (April 2021) |
The 'core' repertoire—performed the most of any cello concertos—are by Elgar, Dvořák, Saint-Saëns, Haydn, Shostakovich and Schumann, but many more concertos are performed nearly as often.
Baroque era:
- Vivaldi's cello concertos RV 398–403, 405–414 and 416–424
Classical era:
- Haydn wrote two cello concertos (for cello, oboes, horns, and strings), which are the most important works in that genre of the classical era.[42]
- Carl Philipp Emanuel Bach wrote three cello concertos and Luigi Boccherini wrote twelve cello concertos.[43]
Romantic era:
- Antonín Dvořák's cello concerto ranks among the supreme examples from the Romantic era while Robert Schumann's focuses on the lyrical qualities of the instrument.
- The instrument was also popular with composers of the Franco-Belgian tradition: Saint-Saëns and Vieuxtemps wrote two cello concertos each and Lalo and Jongen one.
- Tchaikovsky's contribution to the genre is a series of Variations on a Rococo Theme. He also left very fragmentary sketches of a projected Cello Concerto. Cellist Yuriy Leonovich and Tchaikovsky researcher Brett Langston published their completion of the piece in 2006.[44]
- Carl Reinecke, David Popper and Julius Klengel also wrote cello concertos that were popular in their time and are still played occasionally nowadays.
- Elgar's popular concerto, while written in the early 20th century, belongs to the late romantic period stylistically.
20th century:
- An important factor for the 20th-century cello concerto was the rise of virtuoso cellist Mstislav Rostropovich. His outstanding technique and passionate playing prompted dozens of composers to write pieces for him, first in his native Soviet Union and then abroad. Among such compositions may be listed Sergei Prokofiev's Symphony-Concerto, Dmitri Shostakovich's two cello concertos, Benjamin Britten's Cello-Symphony (which emphasizes, as its title suggests, the equal importance of soloist and orchestra), Henri Dutilleux' Tout un monde lointain..., Cristóbal Halffter's two cello concertos, Witold Lutosławski's cello concerto, Dmitry Kabalevsky's two cello concertos, Aram Khachaturian's Concerto-Rhapsody, Arvo Pärt's Pro et Contra, Alfred Schnittke, André Jolivet and Krzysztof Penderecki second cello concertos, Sofia Gubaidulina's Canticles of the Sun, Luciano Berio's Ritorno degli Snovidenia, Leonard Bernstein's Three Meditations, James MacMillan's cello concerto and Olivier Messiaen's Concert à quatre (a quadruple concerto for cello, piano, oboe, flute and orchestra).
- In addition, several important composers who were not directly influenced by Rostropovich wrote cello concertos:
Double bass concerto
20th century:
- ]
Other bowed string instruments
20th century:
- Viola d'amore concerto: Hindemith[46]
For plucked string instrument and orchestra
Harp concerto
Baroque era:
- Handel's Harp Concerto, HWV 294 (a.k.a. Op. 4 No. 6 )[47]
Classical era:
- Wolfgang Amadeus Mozart: Concerto for Flute, Harp, and Orchestra
- Jean-Baptiste Krumpholz: Harp Concertos Op. 7 and Op. 9
- Francesco Petrini: Harp Concertos Op. 25 , Op. 27 and Op. 29
- Ernst Eichner's Harp Concerto in D major, Op. 9
- Jan Ladislav Dussek: Harp Concertos Op. 15 , Op. 30 and Craw 264
- François-Adrien Boieldieu's Harp Concerto in C major[48]
Romantic era:
- Nicolas-Charles Bochsa: Harp Concertos Op. 15 No. 1 and Op. 295
- Elias Parish Alvars: Harp Concertos Op. 81 and Op. 98
- Carl Reinecke's Harp Concerto, Op. 182
- John Thomas's Harp Concerto No. 1
- Henriette Renié's Harp Concerto in C minor
20th century:
- Reinhold Glière's Harp Concerto[49]
- Joseph Jongen's Harp Concerto[50][51]
- Joaquín Rodrigo's Concierto serenata[48]
- André Jolivet's Concerto for Harp and Chamber Orchestra (1952)[49][52]
- Darius Milhaud's Harp Concerto, Op. 323 (1953)[53][54]
- Heitor Villa-Lobos's Harp Concerto[48]
- Alberto Ginastera's Harp Concerto[49]
- Einojuhani Rautavaara's Harp Concerto (2000)[55][56]
Mandolin concerto
Baroque era:
20th century:
Guitar concerto
20th century:
- Guitar Concerto: Arnold, E. Bernstein, Brouwer, Castelnuovo-Tedesco, Hovhaness, Malmsteen, Ohana, Ponce, Rodrigo, Trigos, Villa-Lobos[citation needed]
Other plucked string instruments
Baroque era:
20th century:
For woodwind instrument and orchestra
Flute concerto
Baroque era:
- Vivaldi:
Classical era:
- Mozart:
- Flute Concerto No. 1
- Flute Concerto No. 2
20th century:
- Western concert flute Concerto: Aho, Arnold, Chaminade, Corigliano, Davies, Denisov, Dusapin, Harman, Hétu, Ibert, Jolivet, Landowski, Nielsen, Penderecki, Piston, Rautavaara, Rodrigo, Takemitsu, J. Williams[citation needed]
- Contrabass flute Concerto: McGowan[citation needed][relevant?]
- Piccolo Concerto: Davies,[60] Liebermann[61]
- Recorder concerto: Malcolm Arnold, Richard Harvey[62]
- Takemitsu[63]
Oboe concerto
Baroque era:
- Vivaldi:
- Two of the Twelve Concertos, Op. 7
- One of the Six Concertos, Op. 11
- Handel:
Classical era:
- Mozart: Oboe Concerto
Romantic era:
20th century:
- MacMillan, Maderna, Martinů, Penderecki, Shchedrin, Strauss, Vaughan Williams, Zimmermann[citation needed]
- ]
English horn
20th century:
- English Horn Concerto: Bernard Hoffer, William Kraft, Nicholas Maw, Vazgen Muradian, Vincent Persichetti, Ned Rorem, Pēteris Vasks, Henk de Vlieger[citation needed]
Bassoon concerto
20th century:
- del Aguila, Donatoni, Eckhardt-Gramatté, Fujikura, Gubaidulina, Hétu, Jolivet, Kaipainen, Knipper, Landowski, Panufnik, Rihm, Rota, Sæverud, J. Williams[citation needed]
- Contrabassoon Concerto: Aho, Erb[citation needed][relevant?]
Clarinet concerto
20th century:
- del Aguila, Denisov, Dusapin, Fairouz, Finzi, Françaix, Hartke, Hétu, Hindemith, Nielsen, Penderecki, Piston, Rautavaara, Shapey, Stravinsky, Takemitsu, Ticheli, Tomasi, J. Williams[citation needed]
- Bass clarinet Concerto: Bouliane[citation needed][relevant?]
21st century:
Saxophone concerto
20th century:
- Soprano saxophone Concerto: Aho, Higdon, Hovhaness, Mackey, Torke, Yoshimatsu.[citation needed]
- Alto saxophone Concerto: Adams, Creston, Dahl, Denisov, Dubois, Glazunov, Husa, Ibert, Koch, Larsson, Maslanka, Muczynski, Salonen, Ticheli, Tomasi, J. Williams, Worley, Yoshimatsu[citation needed]
- Tenor saxophone Concerto: Bennett, Ewazen, Gould, Nicolau, Ward, Wilder.[citation needed]
- Baritone saxophone Concerto: Gaines, Glaser, Haas, van Beurden[citation needed]
Other woodwind instruments
20th century:
- ]
For brass instrument and orchestra
Trumpet concerto
20th century:
- Trumpet Concerto:
Horn concerto
Classical era:
- Bohemian composer Francesco Antonio Rosetti composed several solo and double horn concertos. He was a significant contributor to the genre of horn concertos in the 18th century. Most of his outstanding horn concertos were composed between 1782 and 1789 for the Bohemian duo Franz Zwierzina and Joseph Nage while at the Bavarian court of Oettingen-Wallerstein. One of his best-known works in this genre is his Horn Concerto in E flat major C49/K III:36. It consists of three movements: 1. Allegro moderato 2. Romance 3. Rondo. Many common features of the galant style are present in Rosetti's music and composing style. In his E-flat horn concerto, we hear periodic and short phrases, galant harmonic rhythm and melodic line reduction.[65] Rosetti's influence on the 18th century composers, musicians and music was considerable. At the Bavarian court of Oettingen-Wallerstein, his music was often performed by the Wallerstein ensembles. In Paris, his compositions were performed by the best ensembles of the city, including the orchestra of the Concert Spirituel. His publishers were Le Menu et Boyer and Sieber. According to H. C. Robbins Landon (Mozart scholar),[66] Rosetti's horn concertos might have been a model for Mozart's horn concertos.[67][relevant?]
20th century:
- French horn Concerto: Aho, Arnold, Arutiunian, Atterberg, Bowen, Carter, Davies, Glière, Gipps, Hindemith, Hovhaness, Jacob, Knussen, Ligeti, Murail, Penderecki, Strauss, Tomasi, J. Williams[citation needed]
Trombone concerto
20th century:
- ]
Other brass instruments
20th century:
- Cornet Concerto: Bourgeois, Corder, Ellerby, Gregson, Howarth, Tomlinson, Wright[citation needed]
- ]
- Tuba Concerto: Aho, Arutiunian, Broughton, Gagneux, Holmboe, Vaughan Williams, J. Williams[citation needed]
Keyboard concerto
Harpsichord concerto
Baroque era:
- Harpsichord concertos, BWV 1052–1059(Bach)
20th century:
- Harpsichord Concerto: Falla, Glass, Górecki, Nyman, Martinů, Poulenc[citation needed]
Organ concerto
Baroque era:
- Handel:
- Organ concertos, Op.4
- Organ concertos, Op.7
20th century:
- Organ concerto: Arnold, Hanson, Harrison, Hétu, Hindemith, Jongen, MacMillan, Peeters, Poulenc, Rorem, Sowerby[68]
Piano concerto
This section needs additional citations for verification. (April 2021) |
Classical era:
- Mozart:
- Three Concertos after J.C. Bach, K. 107
- No. 1 in F major, K. 37
- No. 2 in B♭ major, K. 39
- No. 3 in D major, K. 40
- No. 4 in G major, K. 41
- No. 5 in D major, K. 175
- No. 6 in B♭ major, K. 238
- No. 8 in C major, K. 246 (Lützow)
- No. 9 in E♭ major, K. 271 (Jeunehomme / Jenamy)
- No. 11 in F major, K. 413
- No. 12 in A major, K. 414
- No. 13 in C major, K. 415
- No. 14 in E♭ major, K. 449
- No. 15 in B♭ major, K. 450
- No. 16 in D major, K. 451
- No. 17 in G major, K. 453
- No. 18 in B♭ major, K. 456
- No. 19 in F major, K. 459
- No. 20 in D minor, K. 466
- No. 21 in C major, K. 467
- No. 22 in E♭ major, K. 482
- No. 23 in A major, K. 488
- No. 24 in C minor, K. 491
- No. 25 in C major, K. 503
- No. 26 in D major, K. 537 (Coronation)
- No. 27 in B♭ major, K. 595
Romantic era:
- Beethoven's five piano concertos increase the technical demands made on the soloist. The last two are particularly remarkable, integrating the concerto into a large symphonic structure with movements that frequently run into one another. His Piano Concerto No. 4 starts with a statement by the piano, after which the orchestra enters in a foreign key, to present what would normally be the opening tutti. The work has a lyrical character. The slow movement is a dramatic dialogue between the soloist and the orchestra. His Piano Concerto No. 5 has the basic rhythm of a Viennese military march. There is no lyrical second subject, but in its place a continuous development of the opening material.[69]
- The piano concertos of provide a link from the Classical concerto to the Romantic concerto.
- Chopin wrote two piano concertos in which the orchestra is relegated to an accompanying role. Schumann, despite being a pianist-composer, wrote a piano concerto in which virtuosity is never allowed to eclipse the essential lyrical quality of the work. The gentle, expressive melody heard at the beginning on woodwind and horns (after the piano's heralding introductory chords) bears the material for most of the argument in the first movement. In fact, argument in the traditional developmental sense is replaced by a kind of variation technique in which soloist and orchestra interweave their ideas.[70]
- Paganini for the violin. His concertos No. 1 and No. 2 left a deep impression on the style of piano concerto writing, influencing Rubinstein, and especially Tchaikovsky, whose First Piano Concerto's rich chordal opening is justly famous.[71][unreliable source?]
- Grieg's concerto likewise begins in a striking manner after which it continues in a lyrical vein.[72]
- Saint-Saëns wrote five piano concertos and orchestra between 1858 and 1896, in a classical vein.
- Brahms's First Piano Concerto in D minor (pub 1861) was the result of an immense amount of work on a mass of material originally intended for a symphony. His Second Piano Concerto in B♭ major (1881) has four movements and is written on a larger scale than any earlier concerto. Like his violin concerto, it is symphonic in proportions.
- Fewer piano concertos were written in the late Romantic Period.[73] But Sergei Rachmaninoff wrote four piano concertos between 1891 and 1926. His Second and Third, being the most popular of the four, went on to become among the most famous in the piano repertoire.[74]
- Other romantic piano concertos, like those by Kalkbrenner, Henri Herz, Moscheles and Thalberg were also very popular in the Romantic era, but not today.[73]
20th century:
- Maurice Ravel wrote two pianos concertos, one in G-major (1931) and the second for the left hand in D-major (date of creation1932).
- Igor Stravinsky wrote three works for solo piano and orchestra:
- Concerto for Piano and Wind Instruments
- Capriccio for Piano and Orchestra
- Movements for Piano and Orchestra
- Sergei Prokofiev, another Russian composer, wrote five piano concertos, which he himself performed.[75]
- Dmitri Shostakovich composed two piano concertos.
- Aram Khachaturian contributed to the repertoire with a piano concerto and a Concerto-Rhapsody.
- dodecaphonicpiano concerto.
- Béla Bartók also wrote three piano concertos. Like their violin counterparts, they show the various stages in his musical development. Bartok's also rearranged his chamber piece, Sonata for Two Pianos and Percussion, into a Concerto for Two Pianos and Percussion, adding orchestral accompaniment.
- Cristóbal Halffter wrote a prize-winning neoclassical Piano Concerto in 1953, and a second Piano Concerto in 1987–88.
- Ralph Vaughan Williams wrote a concerto for piano, though it was later reworked as a concerto for two pianos and orchestra—both versions have been recorded
- Benjamin Britten's concerto for piano (1938) is a prominent work from his early period.
- Piano concertos by Latin-American composers include one by Carlos Chávez, two by Alberto Ginastera, and five by Heitor Villa-Lobos.
- György Ligeti's concerto (1988) has a synthetic quality: it mixes complex rhythms, the composer's Hungarian roots and his experiments with micropolyphony from the 1960s and 1970s.[76]
- Witold Lutosławski's piano concerto, completed in the same year, alternates between playfulness and mystery. It also displays a partial return to melody after the composer's aleatoric period.[76]
- Russian composer Rodion Shchedrin has written six piano concertos.
- Finnish composer Einojuhani Rautavaara wrote three piano concertos, the third one dedicated to Vladimir Ashkenazy, who played and conducted the world première.
- French composer Germaine Tailleferre and Czech composers Bohuslav Martinů and Vítězslava Kaprálová wrote piano concertos.
Accordion concerto
20th century:
- Accordion concerto: Hovhaness, Sofia Gubaidulina, Toshio Hosokawa, Kalevi Aho[citation needed]
- Free bass accordion Concerto: John Serry Sr.[77]
Other keyboard instruments
20th century:
- Piazzolla[citation needed]
- Clavinet concerto: Woolf[citation needed][relevant?]
- Yamaha GX-1: Akutagawa[citation needed][relevant?]
Other instrumental soloist
Percussion instrument
20th century:
- ]
- Timpani concerto: Aho, Druschetzky, Glass, Kraft, Rosauro[citation needed]
- Xylophone concerto: Mayuzumi[78][relevant?]
- Svoboda, Viñao[citation needed]
- Vibraphone: Rosauro (Concerto No.1 and Concerto No.2)[79]
Free reed aerophone
20th century:
- Harmonica concerto: Arnold, Hovhaness, Vaughan Williams, Villa-Lobos[80]
- Sheng Concerto: Unsuk Chin.[citation needed][relevant?]
Electronic musical instrument
20th century:
For multiple instruments and orchestra
In the Baroque era, two violins and one cello formed the standard
Two soloists
Baroque era:
- Vivaldi's concertos for 2 violins, for 2 cellos, for 2 mandolins, for 2 trumpets, for 2 flutes, for oboe and bassoon, for cello and bassoon (etc.)
- Bach:
- Concerto for Two Violins
- Concertos for two harpsichords: 1062
- Telemann's Concerto for Two Violas
Classical era:
- Haydn's concerto for violin and keyboard (usually referred to as the Keyboard Concerto No. 6)
- Mozart:
- Salieri's double concerto for flute and oboe
Romantic era:
20th century:
- Dmitri Shostakovich's Piano Concerto No. 1 (soloists: piano, trumpet)
- Malcolm Arnold's Concerto for Two Violins and String Orchestra
- Francis Poulenc's Concerto for Two Pianos and Orchestra
- Ralph Vaughan Williams's Concerto for Two Pianos and Orchestra
- Elliott Carter's Double Concerto for Harpsichord and Piano with Two Chamber Orchestras
- Peter Maxwell Davies's Strathclyde Concerto No. 3 for horn, trumpet and orchestra, and No. 4 for violin, viola and string orchestra
Three soloists
Baroque era:
- Arcangelo Corelli's twelve concerti grossi, Op. 6 for two violins and cello
- Vivaldi's concertos for 3 violins
- Bach:
- BWV 1050)
- Concertos for three harpsichords: 1064
- Triple Concerto, BWV 1044, for harpsichord, flute and violin
Classical era:
Romantic era:
- Beethoven's Triple Concerto for piano, violin, and cello.
21st century:
Four or more soloists
Baroque era:
- Vivaldi:
- L'estro armonico Nos. 1, 4, 7 and 10
- RV 555, featuring 3 violins, an oboe, 2 recorders, 2 viole all'inglese, a chalumeau, 2 cellos, 2 harpsichords and 2 trumpets.
- Concerto for Diverse Instruments in C major, RV 558
- Concerto in C major, RV 559, for two oboes, two clarinets, strings and continuo
- Bach:
- Brandenburg Concertos Nos. 1 (BWV 1047)
- Concerto for 4 harpsichords, BWV 1065(after a concerto for four violins by Vivaldi)
- Brandenburg Concertos Nos. 1 (
20th century:
- Arnold Schoenberg's Concerto for String Quartet and Orchestra
- Maxwell Davies's Strathclyde Concerto and No. 9 for piccolo, alto flute, cor anglais, E-flat clarinet, bass clarinet, contrabassoon and string orchestra.
- Frank Martin's Concerto for seven wind instruments, timpani, percussion, and string orchestra.
- rock band.
- Joaquín Rodrigo's Concierto Andaluz for 4 guitars.
- Alfred Schnittke's Concerto Grosso No. 3
- Olivier Messiaen's Concert à quatre for piano, cello, oboe and flute.
Concerto for orchestra
This section needs additional citations for verification. (April 2021) |
Symphonic orchestra
In the 20th and 21st centuries, several composers wrote concertos for orchestra. In these works, different sections and/or instruments of the orchestra or concert band are treated at one point or another as soloists with emphasis on solo sections and/or instruments changing during the piece. Some examples include those written by:
- Hindemith– Op. 38, 1925
- Kodály– 1940
- Bartók – Concerto for Orchestra– 1945
- Lutoslawski – Concerto for Orchestra– 1954
- Shchedrin
- Carter – 1969
- Knussen– 1969
- Lindberg – 2003[relevant?]
Dutilleux has also described his Métaboles as a concerto for orchestra.[relevant?]
Chamber orchestra or string orchestra
Baroque era:
- Vivaldi's Concerto alla rustica
- Bach's Brandenburg Concertos Nos. 3 (BWV 1051)
20th century:
- Stravinsky:
More than one orchestra
Baroque era:
20th century:
References
- ^ "The Library of Congress Copyright Office - Public Catalog 1978 - Present, "Concerto in C major for Free Bass Accordion" (Revised for Piano), Composer: John Serry Sr". Cocatalog.loc.gov. 2002.
Copyright # PAU 3-336-024
- ^ Eastman School of Music - University of Rochester - Sibley Music Library: John J. Serry Sr. Collection score "Concetro in C Major (1967) for Free Bass Accordion " Folder 15 & 16 p. 10 archived at the University of Rochester Eastman School of Music Sibley Music Library Special collections on esm.rochester.edu
- ^ a b Wörner 1993, p. 193.
- ^ Wolf 1986, p. 186.
- ^ Tovey 1911, p. 825.
- ^ Talbot 2005.
- ^ Duffy, Reviewed by Martin (2014-06-09). "Australian Chamber Choir fills church with uplifting sacred music". The Sydney Morning Herald. Retrieved 2024-03-27.
- OCLC 27070961.
- ^ Steinberg 2000, p. 14.
- ^ Steinberg 2000.
- ^ Steinberg 2000, p. 17–19.
- ^ "History of the Concerto | Music Appreciation". courses.lumenlearning.com. Archived from the original on 2017-06-16. Retrieved 2021-07-21.
- ^ a b White 1976.
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Copyright # PAU 3-336-024
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- ^ Hopkins 2019.
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- ^ a b "Piano Concerto - Details - AllMusic". AllMusic.
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Sources
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{{cite book}}
: CS1 maint: location missing publisher (link - Kearns, Andrew (1 January 1997). "The Orchestral Serenade in eighteenth‐Century Salzburg". Journal of Musicological Research. 16 (3): 163–197. ISSN 0141-1896.
- Kijas, Anna E. (2013). ""A Suitable Soloist for My Piano Concerto": Teresa Carreño as a Promoter of Edvard Grieg's Music". Notes. 70 (1): 37–58. S2CID 187606895.
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- Sadler, Graham (1975). "Rameau's Last Opera: Abaris, ou Les Boréades". The Musical Times. 116 (1586): 327–329. JSTOR 960326.
- ISBN 0-19-513931-3.
- Stowell, Robin (2009). Beethoven: Violin Concerto. New York: Cambridge University Press. p. 33. ISBN 978-0-521-45159-8.
- Talbot, Michael (27 October 2005). "The Italian concerto in the Late seventeenth and early eighteenth centuries". The Cambridge Companion to the Concerto. ISBN 978-0-521-83483-4.
- Threasher, David (May 2013). "HAYDN Keyboard Concertos Nos 3, 4 & 11". gramophone.co.uk.
- Tovey, Donald Francis (1911). "Concerto". In Chisholm, Hugh (ed.). Encyclopædia Britannica (11th ed.). Cambridge University Press. pp. 825–826.
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Further reading
- Hill, Ralph, Ed., 1952, The Concerto, Penguin Books.
- ISBN 978-1-56159-263-0.
- Randel, Don Michael, Ed., 1986, The New Harvard Dictionary of Music, Harvard University Press, Cambridge, MA and London.
- Tovey, Donald Francis, 1936, Essays in Musical Analysis, Volume III, Concertos, Oxford University Press.
External links
- Concertos: scores at the International Music Score Library Project