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Concertos PDF
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Contents
Articles
Overview 1
Concerto 1
Concertino 9
Concerto grosso 10
Concerto for orchestra 11
Sinfonia concertante 13
Ripieno concerto 15
Solo concerto 16
Student concerto 18
Concertos by instrument 19
Bass oboe concerto 19
Bassoon concerto 19
Cello concerto 23
Clarinet concerto 27
Double bass concerto 34
Double concertos for violin and cello 36
English horn 41
Flute concerto 51
Harmonica concerto 55
Harpsichord concerto 58
Oboe concerto 60
Organ concerto 62
Piano concerto 66
Timpani concerto 68
Triple concertos for violin, cello, and piano 69
Trumpet concerto 72
Viola concerto 73
Violin concerto 78
Examples 82
Bassoon – Bassoon Concerto (Mozart) 82
Cello – Cello Concerto (Elgar) 83
Clarinet – Clarinet Concerto (Mozart) 86
Double – Double Concerto (Brahms) 89
Flute – Flute Concerto (Simpson) 92
Harmonica – Concerto for Harmonica and Orchestra (Arnold) 93
Harpsichord – Harpsichord concertos (Bach) 93
Oboe – Oboe Concerto (Mozart) 100
Orchestra – Concerto for Orchestra (Bartók) 101
Organ – Organ Concerto (Poulenc) 104
Piano – Piano Concerto No. 2 (Rachmaninoff) 105
Sinfonia – Sinfonia Concertante for Violin, Viola and Orchestra (Mozart) 109
Triple – Triple Concerto (Beethoven) 110
Trumpet – Trumpet Concerto (Haydn) 111
Viola – Viola Concerto (Bartók) 112
Violin – Violin Concerto (Beethoven) 114
References
Article Sources and Contributors 121
Image Sources, Licenses and Contributors 123
Article Licenses
License 124
1
Overview
Concerto
A concerto (from the Italian: concerto,
plural concerti or, often, the anglicised form
concertos) is a musical work usually
composed in three parts or movements, in
which (usually) one solo instrument (for
instance, a piano, violin, cello or flute) is
accompanied by an orchestra.
The concerto, as understood in this modern way, arose in the Baroque period side by side with the concerto grosso,
which contrasted a small group of instruments with the rest of the orchestra. The popularity of the concerto grosso
form declined after the Baroque period, and the genre was not revived until the 20th century. The solo concerto,
however, has remained a vital musical force from its inception to this day.
Baroque concerto
The concerto was established as a form of composition in the Baroque period. Starting from a form called Concerto
grosso introduced by Arcangelo Corelli, it evolved into the form we understand today as performance of a soloist
with/against an orchestra.
The main composers of concerti of the baroque were: Tommaso Albinoni, Antonio Vivaldi, Georg Philipp
Telemann, Johann Sebastian Bach, George Frideric Handel, Pietro Locatelli, Giuseppe Tartini, Francesco Geminiani
and Johann Joachim Quantz. The concerto was intended as a composition typical of the Italian style of the time, and
all the composers were studying how to compose in the Italian fashion (all'italiana).
The baroque concerto was mainly for a string instrument (violin, viola, cello, seldom viola d'amore or harp) or a
wind instrument (oboe, trumpet, flute, or horn).
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. As the harpsichord evolved into
the fortepiano, and in the end to the modern piano, the increased volume and the richer sound of the new instrument
allowed the keyboard instrument to better compete with a full orchestra.
Cello concertos have been written since the Baroque era if not earlier. Among the works from that period, those by
Antonio Vivaldi and Giuseppe Tartini are still part of the standard repertoire today.
Concerto 2
Classical concerto
The concerti of the sons of Johann Sebastian Bach are perhaps the best links between those of the Baroque period
and those of Mozart. C.P.E. Bach’s keyboard concerti contain some brilliant soloistic writing. Some of them have
movements that run into one another without a break, and there are frequent cross-movement thematic references.
Mozart, as a boy, made arrangements for harpsichord and orchestra of three sonata movements by Johann Christian
Bach. By the time he was twenty, Mozart was able to write concerto ritornelli that gave the orchestra admirable
opportunity for asserting its character in an exposition with some five or six sharply contrasted themes, before the
soloist enters to elaborate on the material. He wrote one concerto each for flute, oboe (later rearranged for flute and
known as Flute Concerto No. 2), clarinet, and bassoon, four for horn, a Concerto for Flute, Harp, and Orchestra, and
a Sinfonia Concertante for Violin, Viola and Orchestra. They all exploit and explore the characteristics of the solo
instrument. His five violin concerti, written in quick succession, show a number of influences, notably Italian and
Austrian. Several passages have leanings towards folk music, as manifested in Austrian serenades. However, it was
in his twenty-seven original piano concerti that he excelled himself. It is conventional to state that the first
movements of concerti from the Classical period onwards follow the structure of sonata form.
Romantic concerto
In the romantic era, the concerto largely narrowed to three genres: the violin concerto, the cello concerto and the
piano concerto. Virtually no major composer wrote concertos for wind instruments.
Violin concertos
In the 19th century the concerto was a vehicle for virtuosic display flourished as never before. It was the age in
which the artist was seen as hero, to be worshipped and adulated with rapture. Early Romantic traits can be found in
the violin concertos of Viotti, but it is Spohr’s twelve violin concertos, written between 1802 and 1827, that truly
embrace the Romantic spirit with their melodic as well as their dramatic qualities. Beethoven’s Violin Concerto is
unique in its scale and melodic qualities. Recitative elements are often incorporated, showing the influence of Italian
opera on purely instrumental forms. Mendelssohn opens his violin concerto (1844) with the singing qualities of the
violin solo. Even later passage work is dramatic and recitative-like, rather than merely virtuosic. The wind
instruments state the lyrical second subject over a low pedal G on the violin – certainly an innovation. The cadenza,
placed at the start of the recapitulation, is fully written out and integrated into the structure.
The great violin virtuoso Niccolò Paganini was a legendary figure who, as a composer, exploited the technical
potential of his instrument to its very limits. Each one exploits rhapsodic ideas but is unique in its own form. The
Belgian violinist Henri Vieuxtemps contributed several works to this form. Édouard Lalo's Symphonie Espagnole
(1875) displays virtuoso writing with a Spanish flavor. Max Bruch wrote three violin concertos, but it is the first, in
G minor, that has remained a firm favorite in the repertoire. The opening movement relates so closely to the two
remaining movements that it functions like an operatic prelude. Tchaikovsky’s violin concerto (1878) is a powerful
work which succeeds in being lyrical as well as superbly virtuosic. In the same year Brahms wrote his violin
concerto for the virtuoso Joseph Joachim. This work makes new demands on the player, so much so that when it was
first written it was referred to as a "concerto against the violin". The first movement brings the concerto into the
realm of symphonic development. The second movement is traditionally lyrical, and the finale is based on a lively
Hungarian theme.
Concerto 3
Cello concertos
Since the Romantic era, the cello has received as much attention as the piano and violin as a concerto instrument,
and many great Romantic and even more 20th century composers left examples. Antonín Dvořák’s cello concerto
ranks among the supreme examples from the Romantic era while those of Robert Schumann, Carl Reinecke, David
Popper, and Julius Klengel focus on the lyrical qualities of the instrument. Beethoven contributed to the repertoire
with a Triple Concerto for piano, violin, cello and orchestra while later in the century, Brahms wrote a Double
Concerto for violin, cello and orchestra. 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 which was only completed in 2006. Elgar's popular concerto, while written in the early
20th century, belongs to the late romantic period stylistically. In addition, Ernest Bloch wrote Schelomo, Rhapsodie
Hébraïque for cello solo and orchestra in the 20th century.
Today's 'core' repertoire which is performed the most of any cello concertos are by Elgar, Dvořák, Saint-Saëns,
Haydn, Shostakovich, Tchaikovsky and Schumann but there are many more concertos which are performed nearly as
often (see below: cello concertos in the 20th century).
Piano concertos
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, against tradition, with a statement by the piano, after which the orchestra
magically enters in a foreign key, to present what would normally have been the opening tutti. The work has an
essentially lyrical character. The slow movement is a dramatic dialogue between the soloist and the orchestra.
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. He also wrote a Triple Concerto for piano, violin, cello, and
orchestra.
The piano concertos of Mendelssohn, Field, and Hummel provide a link from the Classical concerto to the Romantic
concerto. Chopin wrote two piano concertos in which the orchestra is very much 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.
Liszt's mastery of piano technique matched that of 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. Grieg’s concerto likewise begins in a striking manner after
which it continues in a lyrical 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. But Grieg-inspired Sergei Rachmaninoff wrote 4
piano concertos between 1891 and 1926. His 2nd and 3rd, being the most popular of the 4, went on to become
among the most famous in piano repertoire and shining examples of Russian musicianship.
Concerto 4
Small-scale works
Besides the usual three-movement works with the title "concerto", many 19th-century composers wrote shorter
pieces for solo instrument and orchestra, often bearing descriptive titles. From around 1800 such pieces were often
called Konzertstück or Phantasie by German composers. Liszt wrote the Totentanz for piano and orchestra, a
paraphrase of the Dies Irae. Max Bruch wrote a popular Scottish Fantasy for violin and orchestra, César Franck
wrote Les Djinns and Variations symphoniques, and Gabriel Fauré wrote a Ballade for piano and orchestra.
Tchaikovsky's Variations on a Rococo Theme for cello and orchestra have an important place in the instrument's
repertoire. Rachmaninoff's Rhapsody on a Theme of Paganini is widely considered to be structured similarly to a
piano concerto.
20th century
Many of the concertos written in the early 20th century belong more to the late Romantic school than to any
modernistic movement. Masterpieces were written by Edward Elgar (a violin concerto and a cello concerto), Sergei
Rachmaninoff and Nikolai Medtner (four and three piano concertos, respectively), Jean Sibelius (a violin concerto),
Frederick Delius (a violin concerto, a cello concerto, a piano concerto and a double concerto for violin and cello),
Karol Szymanowski (two violin concertos and a "Symphonie Concertante" for piano), and Richard Strauss (two horn
concertos, a violin concerto, Don Quixote —a tone poem which features the cello as a soloist— and among later
works, an oboe concerto).
However, in the first decades of the 20th century, several composers such as Debussy, Schoenberg, Berg, Hindemith,
Stravinsky, Prokofiev and Bartók started experimenting with ideas that were to have far-reaching consequences for
the way music is written and, in some cases, performed. Some of these innovations include a more frequent use of
modality, the exploration of non-western scales, the development of atonality, the wider acceptance of dissonances,
the invention of the twelve-tone technique of composition and the use of polyrhythms and complex time signatures.
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 in order to include new and extended instrumental techniques as
well as a focus on aspects of sound that had been neglected or even ignored before such as pitch, timbre and
dynamics. In some cases, they also brought about a new approach to the role of the soloist and its relation to the
orchestra.
Violin concertos
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. Bartók, another
major 20th century composer, wrote two important concertos for violin. Russian composers Prokofiev and
Shostakovich both wrote two concertos while Khachaturian wrote 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 which
he used was different.
Three violin concertos from David Diamond show the form in neoclassical style.
More recently, 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.
Other composers of major violin concertos include Jean Sibelius, Ralph Vaughan Williams, Walton, Benjamin
Britten, Frank Martin, Carl Nielsen, Paul Hindemith, Alfred Schnittke, György Ligeti, Philip Glass, John Adams,
and Kan-no.
Concerto 5
Cello concertos
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.
An important factor in this phenomenon 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. His creations include such masterpieces as 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, Witold Lutosławski's cello
concerto, Dmitri 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:
György Ligeti, Alexander Glazunov, Paul Hindemith, Toru Takemitsu, Darius Milhaud, Arthur Honegger, Nikolai
Myaskovsky, Samuel Barber, Joaquín Rodrigo, Elliot Carter, Erich Wolfgang Korngold, William Walton, Heitor
Villa-Lobos, Hans Werner Henze, Bernd Alois Zimmermann and Einojuhani Rautavaara for instance.
Piano concertos
Schoenberg’s Piano Concerto is a well known example of piano concerti. In addition, Stravinsky wrote three works
for solo piano and orchestra: Concerto for Piano and Wind Instruments, Capriccio for Piano and Orchestra, and
Movements for Piano and Orchestra. Prokofiev, another Russian composer, wrote no less than five piano concertos
which he himself performed. Shostakovich composed two. Fellow soviet composer Khachaturian contributed to the
repertoire with a piano concerto and a Concerto-Rhapsody.
Bartók also wrote three piano concertos. Like their violin counterparts, they show the various stages in his musical
development.
Ralph Vaughan Williams wrote concertos for piano and for two pianos while Britten's concerto for piano (1938) is a
fine work from his early period.
György Ligeti's concerto is a good example of a more recent piece (1985) that uses complex rhythms. 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.
• Clarinet Concerto: Aho, Arnold, Copland, Denisov, Dusapin, Fairouz, Françaix, Hétu, Hindemith, Kan-no,
Nielsen, Penderecki, Rautavaara, Stravinsky, Takemitsu, Tomasi, J. Williams
• Contrabassoon Concerto: Aho, Erb
• Cornet Concerto: Wright
• Double bass Concerto: Aho, Bottesini, Dragonetti, Henze, Koussevitsky, Davies, Ohzawa Rautavaara, Tubin
• Drum set Concerto : Beck
• Euphonium Concerto: Cosma, Ewazen, Gillingham, Golland, Graham, Horovitz, Lindberg, Linkola, Sparke,
Wilby.
• Flute Concerto: Aho, Arnold, Denisov, Dusapin, Harman, Hétu, Ibert, Jolivet, Nielsen, Penderecki, Rautavaara,
Rodrigo, Takemitsu, J. Williams
• Free bass accordion Concerto: Serry, Sr.
• Guitar Concerto: Arnold, Brouwer, Castelnuovo-Tedesco, Carulli, Giuliani, Hovhaness, Ohana, Ponce, Rodrigo,
Villa-Lobos
• Harmonica Concerto: Arnold, Vaughan Williams, Villa-Lobos
• Harp Concerto: Ginastera, Glière, Jongen, Milhaud, Jolivet, Rautavaara, Rodrigo, Villa-Lobos
• Harpsichord Concerto: de Falla, Glass, Górecki, Martinů, Poulenc
• Horn Concerto: Aho, Arnold, Arutiunian, Bowen, Carter, Davies, Glière, Gipps, Hindemith, Hovhaness, Jacob,
Knussen, Ligeti, Murail, Penderecki, Strauss, Tomasi, J. Williams
• Mandolin Concerto: Thile
• Marimba Concerto: Creston, Larsen, Milhaud, Rosauro, Svoboda, Viñao
• Oboe Concerto: Aho, Arnold, Bouliane, Denisov, Harman, MacMillan, Maderna, Martinů, Penderecki,
Shchedrin, Strauss, Vaughan Williams, Zimmermann
• Organ Concerto: Arnold, Hanson, Harrison, Hétu, Hindemith, Jongen, Kan-no, MacMillan, Peeters, Poulenc,
Rorem, Sowerby
• Percussion Concerto: Aho, Glass, Jolivet, MacMillan, Milhaud, Rautavaara, Susman
• Piccolo Concerto: Liebermann
• Shakuhachi Concerto: Takemitsu
• Sheng Concerto: Kan-no, Unsuk Chin.
• Soprano saxophone Concerto: Mackey, Torke, Yoshimatsu.
• Tenor saxophone Concerto: Bennett, Ewazen, Wilder.
• Timpani Concerto : Druschetzky, Glass, Kraft, Rosauro
• Trombone Concerto: Aho, Dusapin, Holmboe, Milhaud, Rota, Rouse, Tomasi, Rimsky-Korsakov, Grondahl
• Trumpet Concerto:Aho, Arnold, Arutiunian, Böhme, Jolivet, Perry, Williams, Zimmermann
• Tuba Concerto: Aho, Arutiunian, Holmboe, Vaughan Williams, J. Williams
• Viola Concerto: Aho, Arnold, Bartók, Denisov, Gubaidulina, Hindemith, Kan-no, Kancheli, Martinů, Milhaud,
Murail, Penderecki, Schnittke, Takemitsu, Walton
Among the works of the prolific composer Alan Hovhaness may be noted Prayer of St. Gregory for trumpet and
strings.
Today the concerto tradition has been continued by composers such as Maxwell Davies, whose series of Strathclyde
Concertos exploit some of the instruments less familiar as soloists.
Concerto 7
External links
• Anthology of 20th century violin concertos [1]
• Chisholm, Hugh, ed (1911). "Concerto". Encyclopædia Britannica (11th ed.). Cambridge University Press.
References
[1] http:/ / www. violinconcerto. de
Concertino 9
Concertino
A concertino (or Konzertstück) is a short concerto freer in form. It normally takes the form of a one-movement
musical composition for solo instrument and orchestra, though some concertinos are written in several movements
played without a pause.
Famous concertinos
Listed by composer:
• Cécile Chaminade: Concertino for Flute and Orchestra in D major
• Ferdinand David: Concertino for Trombone and Bassoon
• Lorenzo Ferrero: Three Baroque Buildings (1997) for trumpet, bassoon and string orchestra
• Ferrero: Rastrelli in Saint Petersburg (2000) for oboe and string orchestra
• Ferrero: Two Cathedrals in the South (2001) for trumpet and string orchestra
• Ferrero: Guarini, the Master (2004) for violin and string orchestra
• Leoš Janáček: Concertino for piano and chamber ensemble
• Julius Klengel: Concertino for Cello in C major
• Carl Maria von Weber: Concertino in C minor/E flat for Clarinet and Orchestra
• Weber: Concertino in E minor for Horn and Orchestra
• Weber: Konzertstück in F minor for Piano and Orchestra, Op. 79, J. 282 (later arranged for solo piano by Franz
Liszt, S. 576a)
• Gilad Hochman: Concertino for String Orchestra and Flute Obbligato (2003). [1]
References
[1] Recording (http:/ / giladhochman. com/ audio/ concertino. htm)
Concerto grosso 10
Concerto grosso
The concerto grosso (Italian for big concert(o), plural concerti grossi) is a form of baroque music in which the
musical material is passed between a small group of soloists (the concertino) and full orchestra (the ripieno). This is
in contrast to the concerto which features a single solo instrument with the melody line, accompanied by the
orchestra.
The form developed in the late seventeenth century, although the name was not used at first. Alessandro Stradella
seems to have written the first music in which two groups of different sizes are combined in the characteristic way.
The name was first used by Giovanni Lorenzo Gregori in a set of 10 compositions published in Lucca in 1698[1] .
The first major composer to use the term concerto grosso was Arcangelo Corelli. After Corelli's death, a collection
of twelve of his concerti grossi was published; not long after, composers such as Francesco Geminiani, Pietro
Locatelli and Giuseppe Torelli wrote concertos in the style of Corelli. He also had a strong influence on Antonio
Vivaldi.
Two distinct forms of the concerto grosso exist: the concerto da chiesa (church concert) and the concerto da camera
(chamber concert). (See also Sonata for a discussion about sonatas da camera and da chiesa.) The concerto da
chiesa alternated slow and fast movements; the concerto da camera had the character of a suite, being introduced by
a prelude and incorporating popular dance forms. These distinctions blurred over time.
Corelli's concertino group was invariably two violins and a cello, with a string section as ripieno group. Both were
accompanied by a basso continuo with some combination of harpsichord, organ, lute or theorbo. Handel wrote
several collections of concerti grossi, and several of the Brandenburg Concertos by Bach also loosely follow the
concerto grosso form.
The concerto grosso form was superseded by the solo concerto and the sinfonia concertante in the late eighteenth
century, and new examples of the form did not appear for more than a century. In the twentieth century, the concerto
grosso has been used by composers such as Igor Stravinsky, Ernest Bloch, Ralph Vaughan Williams, Bohuslav
Martinů, Malcolm Williamson, Henry Cowell, Alfred Schnittke, Heitor Villa-Lobos, Andrei Eshpai, Eino Tamberg,
Krzysztof Penderecki, Jean Françaix and Philip Glass. While Edward Elgar may not be considered a modern
composer, his romantic Introduction and Allegro strongly resembled the instrumentation setup of a concerto grosso.
References
[1] Treccani Dizionario Biografico (http:/ / www. treccani. it/ enciclopedia/ giovanni-lorenzo-gregori_(Dizionario-Biografico)/ )
• Concerto for Orchestra by Leonard Bernstein (1986–89), which is also known as "Jubilee Games" for orchestra
and baritone
• Concerto for Orchestra (Variations without a theme) by Denys Bouliane (1985–95)
• Concerto for Orchestra by Joan Tower (1991)
• Third Concerto for Orchestra, Op. 80 by Robin Holloway (1981–94)
• Concerto for Orchestra (Zoroastrian Riddles) by Richard Danielpour (1996)
• Strathclyde Concerto No. 10: Concerto for Orchestra by Peter Maxwell Davies (1996), actually a series of ten
concertos for soloists from the orchestra
• Concerto for Orchestra (reseated) by Augusta Read Thomas (1998)
• Concerto for Orchestra by Stanisław Skrowaczewski (1999)
• Concerto for Orchestra by Menachem Zur (2001-2002) (revised version 2010)
• Boston Concerto by Elliott Carter (2002)
• Concerto for Orchestra by Jennifer Higdon (2002)
• Yi°: Concerto for Orchestra by Tan Dun (2002)
• Concerto for Orchestra, Op. 81 by Lowell Liebermann (2002)
• Concerto for Orchestra by Magnus Lindberg (2003)
• 2nd Concerto for Orchestra by Steven Stucky (2003, which won him the Pulitzer Prize for Music in 2005
• Concerto for Orchestra by David Horne (2003–04)
• Concerti for Orchestra by Milton Babbitt (2004)
• Concierto para orquestra by Agustí Charles (2004)
• Concerto for Orchestra by Alejandro Arguello (2004–05)
• Fourth Concerto for Orchestra, Op. 101 by Robin Holloway (2004–06)
• Concerto for Orchestra by Christopher Rouse (2007–2008)
• Concerto for Orchestra by Rolf Martinsson (2008)
• Symphony No. 5 (Concerto for Orchestra) by Ellen Taaffe Zwilich (2008)
• Fifth Concerto for Orchestra, Op. 107 by Robin Holloway (2009–10)
For string orchestra
• Concerto in D by Igor Stravinsky (1946)
For chamber orchestra
• Concerto for Chamber Orchestra by George Antheil (1932)
• Chamber Concerto by György Ligeti (1969-70)
• Concerto for Orchestra by John Woolrich (1999)
Sinfonia concertante 13
Sinfonia concertante
Sinfonia concertante is a musical form that emerged during the Classical period of Western music. It is essentially a
mixture of the symphony and the concerto genres: a concerto in that one or more soloists (in the classical period,
usually more than one) are on prominent display, and a symphony in that the soloists are nonetheless discernibly a
part of the total ensemble and not preeminent. The form was developed by Joseph Bo(u)logne, Chevalier de St.
George.
Classical era
In the Baroque period, the differences between a concerto and a sinfonia (also "symphony") were initially not all that
clear. The word sinfonia would, for example, be used as the name for an overture to a stage work. Antonio Vivaldi
wrote "concertos" which did not highlight individual soloists and which were stylistically more or less
indistinguishable from his "sinfonias." The Baroque genre that comes closest to the Classical sinfonia concertante is
the concerto grosso; among the most famous of these are those by Arcangelo Corelli.
By the Classical period (roughly 1750-1800), both the symphony and the concerto had acquired more definite
meanings, and the concerto grosso had disappeared altogether. This led in the last decades of the 18th century to
attempts to combine the two genres, such as those by composers of the Mannheim school. Johann Christian Bach
(the so-called "London Bach" and youngest son of Johann Sebastian) was publishing symphonies concertantes in
Paris from the early 1770s on. Mozart, acquainted with the Mannheim school from 1777 and probably not unaware
of J.C. Bach's publications, put considerable effort into attempts to produce convincing sinfonie concertanti. His
most successful are the following:
• Sinfonia Concertante for Violin, Viola and Orchestra K. 364 (the only one Mozart is actually considered to have
finished that exists in an authentic copy).
• Sinfonia Concertante for Oboe, Clarinet, Horn, Bassoon and Orchestra K. 297b (known from an arrangement,
possibly inauthentic).
Joseph Haydn, who wrote over 100 symphonies as well as a number of concertos for all kinds of instruments,
produced three sinfonie concertanti. However, these works draw much more upon the concerto grosso tradition than
the more symphonic treatment of the genre by Mozart.
Beethoven did not write anything designated as a sinfonia concertante, although some feel his Triple Concerto
qualifies for inclusion in the genreTriple.
Romantic era
Few composers still called their compositions sinfonia concertante after the classical music era. However, some
works such as Hector Berlioz' Harold in Italy, for viola and orchestra approach the genre.
Camille Saint-Saëns' Symphony No. 3 features an organ that is partially immersed in the orchestral sound, but also
has several distinct solo passages. The second half of this work also features a semi-soloistic part for piano four
hands.
By the end of the 19th century, several French composers had started using the sinfonia concertante technique in
symphonic poems, for example, Saint-Saëns uses a violin in Danse macabre, and César Franck a piano in Les
Djinns.
Richard Strauss' Don Quixote (1897) uses several soloists to depict the main characters, namely cello, viola, bass
clarinet and tenor tuba.
Édouard Lalo's most known work, the Symphonie Espagnole, is in fact a sinfonia concertante for violin and
orchestra.
Sinfonia concertante 14
A work in the same vein, but with the piano taking the "concertante" part is Vincent d'Indy's Symphonie Cévenole
(Symphony on a French Mountain Air). Likewise, Henry Litolff wrote five Concerto Symphoniques, also with a
piano obbligato,.
Max Bruch explored the boundaries of the solistic and symphonic genres in the Scottish Fantasy (violin soloist), Kol
Nidrei (cello soloist), and Serenade (violin soloist).
20th century
In the 20th century, some composers such as George Enescu, Darius Milhaud, Frank Martin, Edmund Rubbra,
William Walton and Malcolm Williamson again used the name sinfonia concertante for their compositions. Martin's
work, more reminiscent of the classical works with multiple soloists, features a piano, a harpsichord, and a harp.
Karol Szymanowski also composed a sinfonia concertante (for solo piano and orchestra), also known as his
Symphony No. 4 "Symphonie-Concertante." Other examples include Joseph Jongen's 1926 Symphonie Concertante
Op. 81, with an organ soloist, the Sinfonia Concertante (Symphony No. 4), for flute, harp and small string orchestra
by Andrzej Panufnik written in 1973, and Peter Maxwell Davies's Sinfonia Concertante for wind quintet, timpani
and string orchestra of 1982.
The Czech composer Bohuslav Martinů wrote two works in this genre: Sinfonia Concertante for Two Orchestras, H.
219 (1932) and Sinfonia Concertante No. 2 in B-flat major for Violin, Cello, Oboe, Bassoon and Orchestra with
Piano, H. 322 (1949). In fact, all of the composer's symphonies feature a piano, as do most of his orchestral works,
but the two afore-mentioned works were the only two in his output which he labelled concertante symphonies.
Prokofiev called his work for cello and orchestra Symphony-Concerto, stressing its serious symphonic character, in
contrast to the light character of the Classical period sinfonia concertante. Britten's Cello Symphony and Zwilich's
Symphony No. 4 also showcase a solo cello within the context of a full-scale symphony.
Also P. D. Q. Bach produced a (spoofical) "Sinfonia Concertante" utilizing lute, balalaika, double reed slide music
stand, ocarina, left-handed sewer flute, and bagpipes.
Notes
1. For example, in the explanatory notes from the booklet to the CD "BEETHOVEN - Triple Concerto/Choral
Fantasia" (Capriccio Classic Productions No. 180240, 1988).
Ripieno concerto 15
Ripieno concerto
The ripieno concerto is a somewhat later type of Baroque music, the term concerto here reverting to its earlier
meaning of work for an ensemble. The word ripieno is from the Italian for "padding". The concerto ripieno was
sometimes referred to as a "concerto à quatre" (or "à cinque" if the orchestra included two viola parts, a standard
scoring in the 17th century). These were merely compositions for the ripieno alone (i.e. for string orchestra and
continuo), with either no solo parts or clearly subsidiary ones. Beginning with the six ripieno concertos of Giuseppe
Torelli’s op. 5 (1692), this genre enjoyed an efflorescence that extended until about 1740.
Types
Most ripieno concertos fall into one of two distinct classes: a sonata type and a sinfonia type. The sonata type
generally mirrors the form and style of the "sonata da chiesa" in its use of four-movement slow-fast-slow-fast cycles
and predominantly fugal texture.
The more modern sinfonia type was firmly established in Torelli’s second publication to include concertos, op. 6
(1698), and in Giulio Taglietti’s Concerti a Quattro op. 4 (1699), which turn to the three-movement (fast-slow-fast)
pattern and more homophonic texture familiar to us from the solo concerto and opera sinfonia. The opening
movements also parallel the solo concerto in utilizing ritornello form (without solo sections), in which the opening
material recurs from one to several times in various keys, the last statement normally in the tonic. Finales are most
often binary in form and dancelike in style. The sinfonia type gradually merged with the early concert symphony
beginning in the 1720s, doubtless in part because the term concerto was by that time acquiring an indelible
association with the notion of tutti-solo contrast.
A special class of 20th century concertos is the concerto for orchestra. These works are not for the most part ripieno
concertos in the Baroque sense but rather display pieces in which the orchestra itself is the virtuoso, from soloists to
sections of the orchestra, choirs or tutti. Examples of this genre, best known through Bartok’s popular work of 1943,
include compositions by Hindemith (1925), Walter Piston (1933), Zoltan Kodaly (1939–40), Michael Tippett
(1962–63), and Elliott Carter (1969). In the latter piece, Carter dramatically personifies or characterizes the various
concertino groupings, a technique he had previously explored in his Double Concerto for harpsichord and piano
(1961) and his Piano Concerto (1964–65).
References
The New Harvard Dictionary of Music
Solo concerto 16
Solo concerto
A solo concerto is a concerto in which a single soloist is accompanied by an orchestra. It is the most frequent type of
concerto. It originated in the Baroque Period (approximately 1600-1750) as an alternative to the traditional
concertino (solo group of instruments) in a concerto grosso.
A typical concerto has three movements, traditionally fast, slow and lyrical, and fast. There are many examples of
concertos that do not conform to this plan.
History
Baroque
The earliest known solo concertos are nos. 6 and 12 of Giuseppe Torelli’s op. 6 of 1698. These works employ both a
three-movement cycle and clear (if diminutive) ritornello form, like that of the ripieno concerto except that sections
for the soloist and continuo separate the orchestral ritornellos. Active in Bologna, Torelli would have known of the
operatic arias and the numerous sonatas and sinfonias for trumpet and strings produced in Bologna since the 1660s.
He himself composed more than a dozen such works for trumpet, two dated in the early 1690s. Other early violin
concertos are the four in Tomaso Albinoni’s op. 2 (1700) and the six in Torelli’s important op. 8 (1709 - the other six
works in this set are double concertos for two violins).
The most influential and prolific composer of concertos during the Baroque period was the Venetian Antonio
Vivaldi (1678–1741). In addition to his nearly 60 extant ripieno concertos, Vivaldi composed approximately 425
concertos for one or more soloists, including about 350 solo concertos (two-thirds for solo violin) and 45 double
concertos (over half for two violins). Vivaldi’s concertos firmly establish the three-movement form as the norm. The
virtuosity of the solo sections increases markedly, especially in the later works, and concurrently the texture becomes
more homophonic.
Concertos for instruments other than violin began to appear early in the 18th century, including the oboe concertos of
George Frideric Handel and the numerous concertos for flute, oboe, bassoon, cello, and other instruments by Vivaldi.
The earliest organ concertos can probably be credited to Handel (16 concertos, ca. 1735-51), the earliest harpsichord
concertos to Johann Sebastian Bach (14 concertos for one to four harpsichords, ca. 1735-40). In the latter case, all
but probably one of the concertos are arrangements of existing works, though Bach had already approached the idea
of a harpsichord concerto before 1721 in the Brandenburg Concerto no. 5.
Classical
The Classical period brought the triumph of the solo concerto over the group or multiple concerto, assisted by the
continued rise of the virtuoso soloist and the growing demand for up-to-date works for performance by amateurs.
The former trend appears most obviously in the large number of violin concertos written by violinists for their own
use.
The Classical period also witnessed the rise of the keyboard concerto. Until about 1770, the preferred stringed
keyboard instrument was usually the harpsichord, but it was gradually supplanted by the piano. The most important
composers of keyboard concertos before Wolfgang Amadeus Mozart were Bach’s sons. Vienna saw the production
of many keyboard concertos. The last decades of the 18th century brought the rise of traveling piano virtuosos.
The concertos of this period show a broad transition from Baroque to Classical style, though many are more
conservative than contemporaneous symphonies. Most are in three movements, though a significant minority adopt
lighter two-movement patterns such as Allegro-Minuet and Allegro-Rondo. Dance and rondo finales are also
frequent in three-movement concertos.
Solo concerto 17
Joseph Haydn’s concertos are mostly from his early career. Exceptions are the Piano Concerto in D, the Cello
Concerto in D, and the Trumpet Concerto.
Of Mozart’s 23 original piano concertos, 17 date from his Viennese period. They are the crowning achievement of
the concerto in the 18th century. Most of the works he wrote for Vienna are of a type that Mozart called grand
concertos. These were intended for performance at his own subscription concerts, which were held in sizeable halls.
They call for an orchestra that is much larger than a typical concerto of the time, especially in the expanded role
assigned to the winds. The orchestra is rendered fully capable of sustaining a dramatic confrontation with the
virtuosity and individuality of the soloist. Mozart’s approach in these concertos is often clearly symphonic, both in
the application of formal symphonic principles, and in a Haydnesque interest in thematic unity in the later concertos.
The range of styles and expression is greater than that of most other concertos of the period, from the comic-opera
elements of K.467 to the Italianate lyricism of K.488, the tragic character of K.466 and 491 to the Beethovenian
heroism of K.503.
Ludwig van Beethoven’s five piano concertos date from between about 1793 and 1809, (there is an early work from
1784). They are longer than Mozart's concertos, and call for even more virtuosity from the soloist. Beethoven’s
Violin Concerto (1806) exhibits similar achievements - Mozart’s five violin concertos are all early works written in
Salzburg in 1775.
Romantic
Early Romantic concertos include Mendelssohn’s two piano concertos (1831–37) and his important Violin Concerto
(1844) and Schumann's concertos for piano (1845), cello (1850), and violin (1853). The form of these works is
predominantly in the Classical three-movements. Later works in this mould include examples by Johannes Brahms
(two for piano - No. 1 from 1858 and No. 2 from 1878 which adds a fourth movement - and one for violin of 1878),
Edvard Grieg (piano, 1868), Max Bruch (most famously his Violin Concerto No. 1, 1868), and Antonín Dvořák
(piano, violin, cello, 1876–95). In France this tradition is represented primarily by Camille Saint-Saëns (ten
concertos for piano, violin, and cello, 1858–1902), in Russia by Anton Rubinstein and Tchaikovsky (three piano
concertos, one for violin, 1874–93).
A more overtly virtuosic trend appeared in the concertos of brilliant violinists in the 19th century including Louis
Spohr and Niccolò Paganini and pianists Frédéric Chopin (two concertos, 1829–30) and Franz Liszt (two concertos,
original versions 1839-49). The movement structure in most of these works is in the by-now conventional
ritornello-sonata type perfected by Mozart and Beethoven. Liszt’s two concertos, however, are unconventional, in
that the first concerto's five sections are connected both formally and thematically, and the second utilizes a still freer
sectional structure. The first concerto in particular shows the influence of such continuous composite forms as those
of Weber’s Konzertstuck and Schubert’s Wanderer Fantasy. The virtuosity required by all these concertos was
facilitated by—and helped to spur—technical developments in the instruments themselves.
20th Century
Numerous works of the 20th century were written in the vein of the 19th century Romantic concertos - and often
using its forms and styles - including concertos by Sergei Rachmaninoff (four piano concertos, 1890–1926), Jean
Sibelius (violin, 1903), Edward Elgar (violin 1909-10, cello 1919), Carl Nielsen (violin, flute, clarinet), Sergei
Prokofiev (five for piano, 1911–32; two for violin 1916-17 and 1935), William Walton (viola, violin, cello), Dmitri
Shostakovich (two each for piano, violin, and cello), and Francis Poulenc (organ). The virtuoso tradition mirrored in
these concertos is also obvious, though in radically original guise, in the concertos of Béla Bartók. Rachmaninov,
Prokofiev and Bartók were all piano virtuosos.
The composers of the Second Viennese School also produced several prominent concertos: Alban Berg’s Chamber
Concerto for piano, violin, and 13 winds (1923–25), not fully serial but incorporating many elements of Arnold
Schoenberg’s new system; Anton Webern’s Concerto for nine instruments (1931–34), originally intended as a piano
Solo concerto 18
concerto; Berg’s important Violin Concerto (1935); and Schoenberg’s own Violin Concerto (1935–36) and Piano
Concerto (1942).
The neoclassical movement of the period following World War I produced a long series of works that returned to
pre-Romantic conceptions of the concerto. Igor Stravinsky’s Concerto for Piano and Winds (1923–24) is in this
idiom, but his subsequent concertos are more specifically neo-Baroque in character. His Violin Concerto (1931), for
example, comprises a Toccata, two Arias, and a Capriccio, and the soloist is treated more as a member of the
ensemble than as a virtuoso protagonist. The solo concertos of Paul Hindemith (8 for various instruments, 1939–62)
are more traditional than Stravinsky's in their treatment of the relationship between soloist and orchestra. Though
hardly neoclassical in the usual sense, Richard Strauss’ Horn Concerto no. 2 (1942, written some 60 years after his
first) and Oboe Concerto (1945) also reach back to an earlier era, finding nostalgic inspiration in the wind concertos
of Mozart.
A tendency related to the neoclassical rejection of Romantic and traditional features is the use of jazz elements in
many 20th century concertos. George Gershwin was a pioneer for such works, in for example his Rhapsody in Blue
(1924) and Concerto in F for piano (1925) . Jazz is a source of inspiration for Aaron Copland’s Piano Concerto in G
(1929–31), Stravinsky’s Ebony Concerto for clarinet and jazz band (1945).
References
The New Harvard Dictionary of Music
Student concerto
A student concerto is a concerto for any instrument written for musicians who have not yet reached the virtuosity
that a more advanced musician may have. One example of a student concerto is Friedrich Seitz's Student Concerti for
violin.
19
Concertos by instrument
20th century
• Concerto for Bass Oboe, The East Coast, by Gavin Bryars
• Concerto for Heckelphone and Orchestra (1979), opus 60 by Hans Mielenz
• Concertino for Heckelphone and String Orchestra by Henri Wolking
Bassoon concerto
A bassoon concerto is a concerto for bassoon accompanied by a musical ensemble, typically orchestra. Like
bassoon sonatas, bassoon concerti were relatively uncommon until the twentieth century, although there are quite a
few bassoon concerti from the Classical period. Some contemporary bassoon concerti are scored for solo bassoon
and wind or string orchestras.
Baroque
• Michel Corrette, Concerto in D Major Le Phénix for four bassoons and continuo • František Jiránek, Bassoon Concerti in G Minor
• Caspar Förster, Concerto and F Major
[1]
• Johann Gottlieb Graun, Concerto in C Major • Antonín Jiránek, Four Bassoon Concerti
[2]
• Christoph Graupner, Four Bassoon Concerti in C Major, GWV 301 , C Minor, • Johann Melchior Molter, Concerto in B flat Major,
[3] [4] [5] [7]
GWV 307 , G Major, GWV 328 and B flat Major, GWV 340 MWV 6.35
[6]
• Franz Horneck, Concerto in E flat Major • Antonín Reichenauer, Three Bassoon Concerti in C
[8]
Major, F Major, and G Minor
• Antonio Vivaldi, 37 Bassoon Concerti, RV
[9]
466-504 (RV 468 and 482 incomplete)
Classical
Bassoon concerto 20
Romantic
• Ferdinand David, Concertino, Op. 12 (1838) • Giachino Rossini, Bassoon Concerto (attributed to Rossini, authenticity
• Johann Nepomuk Fuchs, Concerto in B flat [13]
questionable)
Major • Carl Maria von Weber, Bassoon Concerto in F Major, Op. 75 (1811)
• Ludwig Milde, Concerto in A Minor • Ermanno Wolf-Ferrari, Suite-concertino in F Major, Op. 16 (1932)
20th/21st century
[14] • John Joubert, Concerto, Op. 77 (1973)
• Dieter Acker, Concerto (1979, rev. 1980)
• Murray Adaskin, Concerto (1960) • Ernest Kanitz, Concerto (1962)
• Raffaele d'Alessandro, Concerto, Op. 75 (1956) • Jouni Kaipainen, Concerto (2005)
• David Amram, Concerto (1970) • Yuri Kasparov, Concerto (1996)
• Allyson Applebaum, Concerto (1995) [15]
• Manfred Kelkel, Concerto, Op. 13 (1965)
• Tony Aubin, Concerto della Brughiera (1965) • Carson Kievman, Concerto for Bassoon (and Fire Alarm System)
[16]
for bassoon and percussion ensemble (1973)
• Tzvi Avni, Concerto (2002) [17]
• Lev Knipper, Concerto for Bassoon and Strings (1969)
• Conrad Baden, Concerto, Op. 126 (1980) • Rudolf Komorous, Concerto
• Henk Badings, Concerto for Bassoon, Contrabassoon and Wind • Ezra Laderman, Concerto (1954)
Orchestra (1964)
• Larry Bell, Concerto, Op. 45 The Sentimental Muse (1997) • Lars-Erik Larsson, Concertino, Op. 45, No. 4 (1955)
• Alain Bernaud, Concertino (1962) • Ray Luke, Concerto (1965)
• Umberto Bertoni, Concerto • Mathieu Lussier, Double Concerto for Trumpet (or Flute) and
[18]
Bassoon
• Bernard van Beurden, Concerto for Bassoon and Wind Ensemble • Ernst Mahle, Concertino (1980)
• Judith Bingham, Concerto (1998) [19]
• Jeff Manookian, Concerto (2008)
[20] • Per Mårtensson, Concerto (2002)
• Marcel Bitsch, Concertino for Bassoon and Orchestra (1948)
• Alexander Blechinger, Concerto, Op. 111 • Peter Maxwell Davies, Strathclyde Concerto No. 8 (1993)
[21] • Chiel Meijering, "Neo-Geo" Concerto
• Daniel Börtz, Concerto for Bassoon and Band (1978-79)
• Eugène Bozza, Concertino for Bassoon and Chamber Orchestra, Op. • Francisco Mignone, Concertino (1957)
49 (1946)
• Colin Brumby, Concerto • Oskar Morawetz, Concerto (1995)
Bassoon concerto 21
• Victor Bruns, Four Bassoon Concerti, Op. 5 (1933), Op. 15 (1946), • Marjan Mozetich, Concerto for Bassoon and Strings with Marimba
Op. 41 (1966) and Op. 83 (1986), and Contrabassoon Concerto, Op. [22]
(2003)
98 (1992)
• Glen Buhr, Concerto (1996) • Ray Næssén, Concerto for Bassoon and Wind Band
• Henri Büsser, Concertino, Op. 80 • Andrzej Panufnik, Concerto (1984) (in memory of Jerzy
Popiełuszko)
• Frits Celis, Concertino, Op. 38 for bassoon, violin, viola and cello • Boris Papandopulo, Concerto
(1992)
• André Chini, Goëlette de jade Concerto for Bassoon and Strings • Jiří Pauer, Concerto (1949)
(1999-2000)
• Wilson Coker, Concertino for Bassoon and String Trio (1959) • Jean-Louis Petit, Les Paradis Se Rencontrent, Ils Ne Se Fabriquent
Pas Concertino for Bassoon and Mandolin Orchestra with
[23]
Contrabass (2002), Concertino for Bassoon and Orchestra
• Dinos Constantinides, Concerto, LRC 154a [24]
• Craig Phillips, Concerto (2002)
• Andrzej Dobrowolski, Concerto (1953) [25]
• Johnterryl Plumeri, Concerto
• Franco Donatoni, Concerto (1952) • Arthur Polson, Concerto
• Pierre Max Dubois, Concerto Ironico (1968) • Amando Blanquer Ponsoda, Concerto (1977)
[26] • Augusto Rattembach, Concierto con algo de Tango
• Jack Curtis Dubowsky, Concerto (2005)
• Alan Ridout, Concertino
• Sophie Carmen Eckhardt-Gramatté, Triple-Concerto for Trumpet,
[27]
Clarinet, Bassoon, Strings and Timpani, E. 123 (1949); Concerto
[28]
for Bassoon and Orchestra, E. 124/125 (1950)
• Helmut Eder, Concerto, Op. 49 [29]
• Jean Rivier, Concerto (1964)
• Anders Eliasson, Concerto (1982) • Nino Rota, Concerto (1974-77)
• John Fairlie, Concerto • Marcel Rubin, Concerto
• Jindřich Feld, Concerto (1953) • Harald Sæverud, Concerto, Op. 44 (1964)
• John Fernström, Concerto, Op. 80 (1945) • Stellan Sagvik, Svensk (ängermanlänsk) Concertino, Op. 114e
(1982)
• Eric Fogg, Concerto (1931) • Friedrich Schenker, Concerto (1970)
• Bjørn Fongaard, Concerto for Bassoon and Orchestra, Op. 120, No. • Gunther Schuller, Concerto "Eine Kleine Fagottmusik" (1985)
12; Concerto for Bassoon and Tape, Op. 131, No. 10
• Jean Françaix, Divertissement for Bassoon and String Orchestra • Maurice Shoemaker, Concerto (1947)
(1942), Concerto for Bassoon and 11 String Instruments (1979)
[30] [31]
• Stephen Frost, Concerto (1999, rev. 2004) • Thomas Sleeper, Concerto (1993)
• Anis Fuleihan, Concertino (1965) • Gunnar Sønstevold, Concertino (1973)
[32] [33]
• Launy Grøndahl, Concerto (1942) • Michał Spisak, Concerto (1944)
• Sofia Gubaidulina, Concerto for Bassoon and Low Strings (1975) [34]
• Allan Stephenson, Concerto (1990), Concertino for Two
Bassoons and Orchestra (1999)
[35] • Franklin Stover, Double Concerto for Bassoon, Contrabassoon and
• Aharon Harlap, Concerto (2004)
Orchestra (2010)
• Bernard Heiden, Concerto (1990) • Stjepan Šulek, Concerto (1958)
• Jacques Hétu, Concerto (1979) [36]
• Christopher Theofanidis, Concerto (1997-2002)
• Frigyes Hidas, Concerto for Bassoon and Wind Ensemble (1999) • Henri Tomasi, Concerto (1961)
• Paul Hindemith, Concerto for Bassoon and Trumpet (1949) [37]
• Marc Vaubourgoin, Concerto (1963)
• Peter Hope, Concertino • Stanley Weiner, Concerto, Op. 21 (1969)
[38] • John Williams, The Five Sacred Trees (1995)
• Caleb Hugo, Concerto
• Bertold Hummel, Concerto, Op. 27b [39]
• Guy Woolfenden, Concerto (1999)
• Gordon Jacob, Concerto (1947) • Gerhard Wuensch, Concerto (1976)
• André Jolivet, Concerto (1951) • León Zuckert, Concerto (1976)
[40]
• Ellen Taaffe Zwilich, Concerto (1992)
Bassoon concerto 22
Other famous pieces for bassoon and orchestra include Berwald's Konzertstück [41], Elgar's Romance, Villa-Lobos's
Ciranda Das Sete Notas, and Weber's Andante e Rondo Ongarese (sometimes considered a concerto).
Notes
[1] http:/ / imslp. org/ wiki/ Bassoon_Concerto_in_C_major_(Graun,_Johann_Gottlieb)
[2] http:/ / imslp. org/ wiki/ Bassoon_Concerto_in_C_major,_GWV_301_(Graupner,_Christoph)
[3] http:/ / imslp. org/ wiki/ Bassoon_Concerto_in_C_minor,_GWV_307_(Graupner,_Christoph)
[4] http:/ / imslp. org/ wiki/ Bassoon_Concerto_in_G_major,_GWV_328_(Graupner,_Christoph)
[5] http:/ / imslp. org/ wiki/ Bassoon_Concerto_in_B-flat_major,_GWV_340_(Graupner,_Christoph)
[6] http:/ / imslp. org/ wiki/ Bassoon_Concerto_in_E-flat_major_(Horneck,_Franz)
[7] http:/ / imslp. org/ wiki/ Bassoon_Concerto_in_B-flat_major,_MWV_6. 35_(Molter,_Johann_Melchior)
[8] Reichenauer on IMSLP (http:/ / imslp. org/ wiki/ Category:Reichenauer,_AntonÃn)
[9] List of compositions by Antonio Vivaldi
[10] List of compositions by Johann Christian Bach
[11] Rinck Concerto, ed. Lottridge (http:/ / www. reallygoodmusic. com/ rgm. jsp?page=itemDetail& iid=129247)
[12] http:/ / imslp. org/ wiki/ Bassoon_Concerto_in_F_major_(Kummer,_Gotthelf_Heinrich)
[13] Rossini Bassoon Concerto liner notes (http:/ / www. musicweb-international. com/ classrev/ 2002/ dec02/ Rossini_Bassoon. htm)
[14] Acker Concerto (http:/ / www. schott-music. com/ shop/ 1/ show,8804. html)
[15] Kelkel Concerto (http:/ / www. worldcat. org/ title/ concerto-pour-basson-et-orchestre-op-13/ oclc/ 02278172)
[16] Kievman works list (http:/ / silvertone. princeton. edu/ ~carson/ comp98. html)
[17] Knipper Concerto (http:/ / www. youtube. com/ watch?v=NFiz-SmmgXg)
[18] Works by Mathieu Lussier (http:/ / www. trevcomusic. com/ onlinecatalog/ compositions/ ?composerid=2262)
[19] http:/ / imslp. org/ wiki/ Concerto_for_Bassoon_and_Orchestra_(Manookian,_Jeff)
[20] Maurice Allard, Bitsch Concertino (http:/ / www. youtube. com/ watch?v=SC7TkRgGNCg)
[21] Börtz Concerto (http:/ / www. edition-peters. com:80/ product/ modern/ bassoon-concerto-piano-reduction/ ep66806a)
[22] Marjan Mozetich Recordings (http:/ / www. mozetich. com/ Recordings. html)
[23] Petit bassoon works (http:/ / jean_louis. petit. perso. sfr. fr/ compositeur/ catalogue/ catalogue/ basson. html)
[24] Craig Phillips (http:/ / craigphillipscomposer. com/ Home. html)
[25] Terry Plumeri Conducting Repertoire (http:/ / terryplumeri. com/ page. php?sec=4)
[26] Dubowsky Bassoon Concerto No. 1 (http:/ / www. sheetmusicplus. com/ title/ Bassoon-Concerto-No-1-Bassoon-Piano/ 19251105)
[27] Eckhardt-Gramatté Triple-Concerto (http:/ / www. musiccentre. ca/ apps/ index. cfm?fuseaction=score. FA_dsp_details&
bibliographyid=7197& dsp_page=13)
[28] Eckhardt-Gramatté Bassoon Concerto (http:/ / www. musiccentre. ca/ apps/ index. cfm?fuseaction=score. FA_dsp_details&
bibliographyid=7189& dsp_page=1)
[29] Rivier Bassoon Concerto (http:/ / magic. msu. edu:80/ record=b2296147a)
[30] Frost Bassoon Concerto (http:/ / www. frostmusic. co. uk/ page6. html)
[31] Thomas Sleeper Bassoon Concerto (http:/ / www. sleepermusic. com/ BassoonConcerto. html)
[32] Grøndahl Concerto (http:/ / www. edition-peters. com:80/ product/ bassoon-concerto/ ed13)
[33] Michał Spisak (http:/ / www. usc. edu/ dept/ polish_music/ composer/ spisak. html)
[34] Allan Stephenson Horn Concerto, Piccolo Concerto, Bassoon Concerto, Brass Quintet (http:/ / www. musicweb-international. com/ classrev/
2000/ july00/ stephenson2. htm)
[35] Aharon Harlap (http:/ / www. classical-composers. org/ comp/ harlap)
[36] Theofanidis Concerto program notes & audio samples (http:/ / www. theofanidismusic. com/ programnotes_Bassoon_Concerto. html)
[37] Maurice Allard, Vaubourgoin Concerto (http:/ / www. youtube. com/ watch?v=bHBR5hfa8m0)
[38] Hugo Bassoon Concerto (http:/ / www. youtube. com/ watch?v=8AFzDI2L62w)
[39] Woolfenden Bassoon Concerto (http:/ / www. arielmusic. co. uk/ bassoon_concerto. html)
[40] Ellen Taafe Zwilich Work List (http:/ / www. presser. com/ Composers/ info. cfm?Name=ELLENTAAFFEZWILICH#Works)
[41] http:/ / imslp. org/ wiki/ Konzertstück_for_Bassoon_and_Orchestra_(Berwald,_Franz)
Cello concerto 23
Cello concerto
A cello concerto (sometimes called a violoncello concerto) is a concerto for solo cello with orchestra or, very
occasionally, smaller groups of instruments.
These pieces have been written since the Baroque era if not earlier. However, unlike the violin, the cello had to face
harsh competition from the older, well-established viola da gamba. As a result, few important cello concertos were
written before the 19th century – with the notable exceptions of those by Vivaldi, C.P.E. Bach, Haydn and
Boccherini. Its full recognition as a solo instrument came during the Romantic era (Schumann, Saint-Saëns, Dvořák).
From then on, cello concertos have become more and more frequent. Twentieth century composers have made the
cello a standard concerto instrument, along with the already-rooted piano and violin concertos; among the most
notable concertos are those of Elgar, Prokofiev, Shostakovich, Barber and Hindemith. Most post-World War II
composers (Ligeti, Britten, Dutilleux, Lutoslawski and Penderecki among others) have written at least one.
One special consideration composers must take with the cello (as well as all instruments with a low range) is with
the issue of projection. Unlike instruments like the violin, whose high range projects fairly easily above the
orchestra, the cello's lower notes can be easily lost when the cello is not playing a solo or near solo. Because of this,
composers have had to deliberately pare down the orchestral component of cello concertos while the cello is playing
in the lower registers.
References
[1] http:/ / www. mmguide. musicmatch. com/ artist/ artist. cgi?ARTISTID=1089026& TMPL=LONG
[2] http:/ / dvorak. musicabona. com/ ~dvorak/ 123/
Clarinet concerto 27
Clarinet concerto
A clarinet concerto is a piece for clarinet and orchestra (or concert band). Albert Rice has identified a work by
Giuseppe Antonio Paganelli as possibly the earliest known concerto for solo clarinet; its score appears to be titled
"Concerto per Clareto" and may date from 1733. It may, however, be intended for soprano chalumeau.[1] There are
earlier concerti grossi with concertino clarinet parts including two by Johann Valentin Rathgeber, published in
1728.[2]
Famed publishing house Breitkopf & Härtel published the first clarinet concerto in 1772. The instrument's popularity
soared and a flurry of early clarinet concertos ensued.[3] Many of these early concertos have largely been forgotten,
though German clarinettist Dieter Klocker specializes in these "lost" works.[4] Famous clarinet concertos of the
classical era include those of Mozart, Carl Maria von Weber and Louis Spohr.
Relatively few clarinet concertos, or wind instrument concertos generally, were produced during Romantic music
era, but the form became more popular in the twentieth century, with famous clarinet concertos from Carl Nielsen,
Copland, and the more recent ones by John Corigliano, Kalevi Aho and John Williams.
Baroque period
the clarinet was not created until the classical period.
Classical period
• Johann Georg Heinrich Backofen (1768 - 1830?)
• Concerto in B♭ major for clarinet and orchestra, Op. 3 (1809?)
• Sinfonie Concertante in A major, op. 10 for Two Clarinets and Orchestra (1810?)
• Clarinet Concerto in E Flat Major, Opus 16 (1809?)
• Clarinet Concerto in E Flat Major, Opus 24 (1821?)
• Concerto in F major for Basset-horn and Orchestra
• Heinrich Joseph Bärmann (1784–1847)
• Concertstück in G minor for Clarinet and Orchestra
• Concertino in C minor for Clarinet and Orchestra
• Concertino in E-flat major op. 27 for Clarinet and Orchestra (1828?)
• Carl Bärmann (1810–1885)
• Konzertstück for two Clarinets and Orchestra
• Joseph Beer (1744–1812)
• Clarinet Concerto No.1
• two other clarinet concertos and two double concertos[3]
• Max Bruch
• Concerto for Clarinet, Viola, and Orchestra in E minor, op. 88 (1910)
• Matthäus (Frédéric) Blasius
• Concerto nr. 1 in C major for Clarinet and Orchestra
• Casimir Anton Cartellieri
• Concerto no. 1 in B-flat major for Clarinet and Orchestra
• Concerto no. 3 in E-flat major for Clarinet and Orchestra
• Concerto for 2 Clarinets & Orchestra in B Flat Major
• Bernhard Henrik Crusell
• Clarinet Concerto No. 1 (date unknown)
Clarinet concerto 28
• 11 Clarinet Concertos
• Franz Xaver Süßmayr (1766–1803)
• Concerto movement in D major for Basset Clarinet and Orchestra
• Franz Wilhelm Tausch (1762–1817)
• Concertante op. 26 nr. 2 in B-flat major for two Clarinets and Orchestra
• Concertante op. 27 nr. 1 in B-flat major for two Clarinets and Orchestra
• Concerto in E-flat major for Clarinet and Orchestra
• Johann Vogel (1756–1788)
• Concerto in B-flat Major [3]
• Carl Maria von Weber (1786–1826)
• Concertino for clarinet and orchestra
• Clarinet Concerto No. 1
• Clarinet Concerto No. 2 (all 1811)
• Peter von Winter (1754–1825)
• Concerto in E-flat major for Clarinet and Orchestra
• Michèl Yost (1754–1786)
• Concerto no.11 in B-flat major for Clarinet and Orchestra
• Concerto no.8 in E-flat major for Clarinet and Orchestra
• Concerto no.9 in B-flat major for Clarinet and Orchestra
• Concerto no.7 in B-flat major for Clarinet and Orchestra
Other concertos from the classical era include those by Deshayes, Fuchs, Jan Kalous, Joseph Lacher, Lang, Philipp
Meissner, Pfeilsticker, J.B. Wanhal, Wenzel Pichel, Johan Stich, and J.C. Stumpf.[3]
Romantic period
• Donato Lovreglio's (1847 - 1907)
• Fantasia Da Concerto Su Motivi De La Traviata (Fantasia for Clarinet and Orchestra on the Opera, La
Traviata) for Clarinet and Orchestra (Original music/opera by Giuseppe Verdi)
• Felix Mendelssohn (1809–1847)
• Concert Piece No. 1 for Clarinet, Basset Horn, and Orchestra in F minor, Op. 113 (1833)
• Concert Piece No. 2 for Clarinet, Basset Horn, and Orchestra in D minor, Op. 114 (1833)
• Saverio Mercadante (1795–1870)
• Clarinet Concerto in B-flat major
• Clarinet Concerto in E-flat major
• Nikolai Rimsky-Korsakov (1844–1908)
• Concertstück for Clarinet and Military Band (1878)[9]
• Louis Schindelmeisser (1811–1864)
• Sinfonia Concertante for four Clarinets and Orchestra, op. 2 (1833)
• Sergey Ivanovich Taneyev (1856–1915)
• Canzona for Clarinet and Strings in F minor
Clarinet concerto 31
20th/21st Century
• John Adams's Gnarly Buttons (1996)[10]
• Kalevi Aho's Clarinet Concerto (2005)
• Joan Albert Amargós' Clarinet Concerto
• Malcolm Arnold's Clarinet Concerto No. 1 (1948) and Clarinet Concerto No. 2 (1974)
• Jacob Avshalomov's Evocations, Concerto for Clarinet and Chamber Orchestra
• Nicolas Bacri's Concerto da Camera op.61 (1999) for Clarinet and String Orchestra
• Radamés Gnattali's Choro for Clarinet in B-flat and Orchestra
• Jean Balissat's Cantabile for Clarinet and Strings (1995)
• Michael Berkeley's Clarinet Concerto (1991)
• Leonard Bernstein's Prelude, Fugue, and Riffs (1946)[11]
• Jean Binet's Petit Concert for Clarinet and Strings (1950)
• Howard Blake's Clarinet Concerto
• Jacques Bondon
• Concerto d'Octobre for Clarinet and String Orchestra
• Concerto des Offrandes for Clarinet and Orchestra
• Eugène Bozza Concerto for Clarinet and Orchestra
• Benjamin Britten's Movement for Clarinet and Orchestra (1942/3)
• Max Bruch's Concerto for Clarinet, Viola, and Orchestra in E minor, Op. 88 (1911)
• Ferruccio Busoni's Concertino for Clarinet and String Orchestra, op. 48 (1918)[12]
• Ann Callaway's Concerto for Bass Clarinet and Chamber Orchestra (1985–1987) (Laureate Press, distr. MMB
Press)
• John Carbon [13]'s Clarinet Concerto (1993)
• Elliott Carter's Clarinet Concerto (1996)
• Aexis Chalier's Concertino for Clarinet and Strings (2001/02)
• Arnold Cooke's Concerto for Clarinet and Orchestra
• Aaron Copland's Clarinet Concerto (1948)
• John Corigliano's Clarinet Concerto (1977)[14]
• Peter Maxwell Davies's Strathclyde Concerto No. 4 (1990) and "The Seas of Kirk Swarf" for bass clarinet and
strings (2007).[15]
• Claude Debussy's Premiere Rapsodie
• Norman Dello Joio's Concertante for Clarinet and Orchestra
• Edison Denisov's Concerto for Clarinet and Orchestra (1989)
• Einar Englund's Clarinet Concerto
• Dietrich Erdmann's Concerto for bass clarinet and orchestra.
• Richard Festinger's Equinox for Clarinet and Small Orchestra (2009)
• Gerald Finzi's Clarinet Concerto (1949)
• Jean Françaix's Clarinet Concerto (1968)
• Armin Fries's Concerto for Clarinet and Strings (1956)
• Gunnar de Frumerie's Concerto op. 51 (1957–1958) for Clarinet, Strings, Harp and Percussion
• Berthold Goldschmidt's Clarinet Concerto
• Osvaldo Golijov's "Dreams and Prayers of Isaac the Blind" for solo clarinetist (soprano clarinets, basset horn, and
bass clarinet) and string quartet, later arranged for solo clarinetist and string orchestra.[16]
• Todd Goodman's Concerto for bass clarinet and orchestra.[17]
• Kimmo Hakola's Concerto for Clarinet and Orchestra (2001)
• Paul Hindemith's Clarinet Concerto (1947)[18]
• James Hook's Clarinet Concerto in E-flat major
Clarinet concerto 32
Notes
[1] Rice, Albert R. (1992). The Baroque Clarinet. Oxford: Clarendon Press. pp. 99–101.
[2] Rice, Albert R. (1992). The Baroque Clarinet. Oxford: Clarendon Press. pp. 93–94.
[3] Hoeprich, Erich (2008). The clarinet (http:/ / books. google. nl/ books?id=Hnh0G2wrJvsC& pg=PA81& lpg=PA81& dq=joseph+ beer+
clarinet#v=onepage& q=joseph beer clarinet& f=false). Yale University Press. p. 81 & 82. ISBN 978-0-300-10282-6. .
[4] "Dieter Klocker Discography" (http:/ / www. cduniverse. com/ classical. asp?performer=Dieter+ Klocker). .
[5] http:/ / www. haydn. dk/ mhc_crusell. php
[6] Hoeprich, Eric (2008). The Clarinet. New Haven and London: Yale University Press. pp. 135.
[7] "Basset Horn Concerto, Op.90 (Schneider, Georg Abraham)" (http:/ / imslp. org/ wiki/ Basset_Horn_Concerto,_Op.
90_(Schneider,_Georg_Abraham)). IMSLP. . Despite the title, the solo part does not use the notes below low written E characteristic of a
basset horn; in modern terms these would be concertos for alto clarinet in F.
[8] http:/ / www. naxos. com/ mainsite/ blurbs_reviews. asp?item_code=8. 550688& catNum=550688& filetype=About%20this%20Recording&
language=English
[9] Marina Frolava-Walker. "Rimsky-Korsakov: (1) Nikolay Andreyevich Rimsky-Korsakov." Grove Music Online, ed. L. Macy (accessed
December 1, 2006), grovemusic.com (http:/ / www. grovemusic. com/ ) (subscription access).
[10] "John Adams List of Works" (http:/ / www. earbox. com/ listofworks. html). . Retrieved 20 January 2007.
[11] "The Official Leonard Bernstein Web Site: Music for Performance" (http:/ / www. leonardbernstein. com/ catalogue. php). . Retrieved 20
January 2007.
[12] Antony Beaumont. "Busoni, Ferruccio." Grove Music Online, ed. L. Macy (accessed December 1, 2006), grovemusic.com (http:/ / www.
grovemusic. com/ ) (subscription access).
[13] http:/ / www. johncarbon. com
[14] "Concerto for Clarinet and Orchestra, John Corigliano" (http:/ / www. schirmer. com/ default. aspx?TabId=2420& State_2874=2&
workId_2874=26969). G. Schirmer, Inc.. . Retrieved 31 January 2007.
[15] "The saint and the shebeen" (http:/ / www. theherald. co. uk/ features/ features/ display. var. 1483249. 0. 0. php). The Herald. 20 June 2007.
. Retrieved 2007-06-22.
[16] "Oakland Symphony performs a clarinetist's 'Dream'" (http:/ / www. insidebayarea. com/ music/ ci_5485528). Inside Bay Area. 2007-03-21.
. Retrieved 2007-03-21.
[17] "Beaver Valley Philharmonic: Mozart, Goodman in season finale" (http:/ / www. lppac. org/ newsid. php?id=54). Lincoln Park Performing
Arts Center. 2008-04-17. . Retrieved 2007-04-19.
[18] Giselher Schubert. "Hindemith, Paul." Grove Music Online, ed. L. Macy (accessed December 1, 2006), grovemusic.com (http:/ / www.
grovemusic. com/ ) (subscription access).
[19] "Clarinet Concerto—Thea Musgrave, Composer" (http:/ / www. theamusgrave. com/ html/ clarinet_concerto. html). Thea Musgrave web
site. . Retrieved 31 January 2007.
[20] http:/ / www. liornavok. com/ music. asp?name=Clarinet+ Concerto+ (concerto+ for+ clarinet)+ & id=13
[21] http:/ / www. mytempo. com
External links
• UNM clarinet repertoire list (http://music.unm.edu/department_areas/woodwind/clarinet/repertoire.htm)
Double bass concerto 34
• Gordon Jacob
• Concerto for Double Bass (1972)
• Serge Koussevitsky
• Concerto in F♯ minor, Op. 3 (1902)
• Virgilio Mortari
• Concerto per Franco Petracchi
• Edouard Nanny
• Concerto in E minor
• Einojuhani Rautavaara
• Angel of Dusk, concerto for double bass and orchestra (1980)
• Anthony Ritchie
• Whalesong (2006)
• Nino Rota
• Divertimento Concertante for double bass and orchestra (1968–1973)
• Johannes Matthias Sperger
• Concerto in D major, No. 15
• Eduard Tubin
• Double Bass Concerto (1948)
• Johann Baptist Vanhal
• Concerto in E♭ major
• Aldemaro Romero
• Concierto risueño
• Serge Lancen
• Concerto pur contrebasse et cordes
• Fernand Fontaine
• Concerto As dur
Double concertos for violin and cello 36
A
• Kurt Atterberg
• Concerto in G minor and C major for violin, violoncello and string orchestra. Op. 57. (1959–60)
B
• Johann Christian Bach
• Symphonies concertantes for violin, cello and orchestra in A major (C.79) and B-flat major (C.46) [1]
• Alexander Bakshi
• Winter in Moscow; Ice-covered ground … for violin, cello and string orchestra (1994)
• Rainer Bischof
• Double Concerto for Violin, Cello and Orchestra (1980)
• Konrad Boehmer
• Il combattimento for violin, cello, and orchestra (1989–90)
• Johannes Brahms
• Double Concerto in A minor for Violin, Cello and Orchestra (1887)
• Cesar Bresgen
• Concertino, for violin, cello and small orchestra
C
• Friedrich Cerha
• Double Concerto, for Violin, Cello and Orchestra (1976)
• Gordon Shi-Wen Chin
• Double concerto for Violin and Cello (2006)
D
• Richard Danielpour
• A Child's Reliquary (Double Concerto for Violin, Cello and Orchestra) (2000)
• In the Arms of the Beloved (Double Concerto for Violin, Cello and Orchestra) (2001)
• Johann Nepomuk David
• Concerto for Violin, Cello and Orchestra op. 68 (1971)
• Frederick Delius
• Double Concerto for Violin, Cello and Orchestra (1915–16)
• Gaetano Donizetti
Double concertos for violin and cello 37
• Double Concerto (Concertino) for Violin, Cello and Orchestra in D minor (reconstruction by J.
Wojciechowski)[2]
E
• Thierry Escaich
• "Miroir d'ombres", Double Concerto for Violin, Cello and Orchestra (2006)
F
• Mohammed Fairouz
• Double Concerto for Violin, Cello and Orchestra States of Fantasy (2010)
G
• Philip Glass
• Double Concerto for Violin, Cello and Orchestra (2010)
H
• Daron Hagen
• Masquerade for violin, cello and orchestra (2007)
• Lou Harrison
• Double Concerto for Violin, Cello and Gamelan (1982)
• Leopold Hofmann
• Concerto in G major for violin, cello and string orchestra
• David Johnstone
• Double Concertante for Solo Violin, Solo Cello and Chamber Orchestra (16 mins) (2009)
K
• Julius Klengel
• Double Concerto for Violin, Cello and Orchestra No.1
• Double Concerto for Violin, Cello and Orchestra No.2, Op.61 (1924)
L
• Ezra Laderman
• Concerto for violin and violoncello and orchestra (Edition - Schirmer) (1986)
• Henri Lazarof
• Partita di Madrigal Double Concerto for Violin, Cello and Orchestra (25 min) (2001)
Double concertos for violin and cello 38
M
• Tigran Mansurian
• Double Concerto for violin, cello and string orchestra (1978)
• Marko Mihevc
• Fidlfadl for Violin solo, Cello solo, and string orchestra (2003)
• Romance for Violin solo, Cello solo, and string orchestra (2003)
• Norbert Moret
• Double Concerto for Violin and Cello (1981)
• Wolfgang Amadeus Mozart
• Sinfonia Concertante for Violin, Cello and Orchestra K. 364 in E flat major (1779) arranged
(original for violin, viola and orchestra)
O
• Mark O'Connor
• Double Concerto for violin, cello and Orchestra (For the Heroes) - Three movements
P
• Hans Pfitzner
• Duo for Violin, Cello and Small Orchestra (or piano)
R
• Josef Reicha
• Concerto in D major for Violin, Cello and Orchestra, Op.3
• Robert Xavier Rodríguez
• Favola Concertante, Ballet and Double Concerto for Violin, Cello, and String Orchestra (1975)
• Julius Röntgen
• Double Concerto for violin and cello (1927)
• Ned Rorem
• Double Concerto for Violin, Cello and Orchestra
• Miklós Rózsa
• Theme and Variations for violin, cello and orchestra (Op. 29a is a version of the slow movement for smaller
orchestra.)
Sinfonia Concertante, Op. 29
Tema con Variazoni, Op. 29a (1958)
Double concertos for violin and cello 39
S
• Camille Saint-Saëns
• La Muse et le Poète for Violin, Cello and Orchestra, op. 132 (1910) - A symphonic poem with violin and cello
solo
• Helmut Schmidinger
• “… the sound of the wings, as they brushed one another …” [3] - Concerto for Violin, Violoncello and String
Orchestra (2009/2010)
• Alfred Schnittke
• Concerto Grosso No. 2, for violin, violoncello and orchestra (1981–82)
• Roger Sessions
• Double Concerto for Violin, Cello and Orchestra (1970-1) [4]
• David Soldier
• Ultraviolet Railroad concerto for violin, cello and orchestra (1992)
• Carl Stamitz
• Sinfonia Concertante in D major for violin, cello and orchestra
T
• Ivan Tcherepnin
• Double Concerto for Violin, Cello and Orchestra (1996)
V
• Henri Vieuxtemps
• Duo brilliant, for Violin, Cello and Orchestra, Op. 39
• Antonio Vivaldi
• Double Concerto ("Il Proteo, o sia Il mondo al rovescio") for Violin, Cello, Strings and continuo in F major,
RV 544
• Double Concerto ("All'inglese"), for Violin, Cello, Strings & Continuo in A major, RV 546
• Double Concerto for violin and cello and strings and continuo in B flat major RV 547
• Concerto for Violin, Cello and Strings in B-flat major Op. 20, No. 2
• Concerto for Violin, Cello and Strings in F major PV 308
• Concerto for Violin, Cello and Strings in A major PV 238
• Antonín Vranický (also spelled Anton Wranitzky)
• Two Concertos for Violin and Cello and orchestra
Double concertos for violin and cello 40
W
• Robert Ward
• Dialogues for violin, cello and orchestra (1983)
Y
• Eugène Ysaÿe
• Poème nocturne, for Violin, Cello and Orchestra, op. 29 (1927)
Z
• Ellen Taaffe Zwilich
• Concerto for violin, violincello and orchestra
External links
[1] "Review of Recording of JC Bach's Complete Symphonies Concertantes" (http:/ / www. musicweb-international. com/ classrev/ 2007/ Oct07/
JCBach_set_7772922. htm). MusicWeb International. October 2007. . Retrieved 2007-11-11.
[2] Benedek, Tamás (1994). "Notes to Recording of Donizetti Double Concerto" (http:/ / www. naxos. com/ mainsite/ blurbs_reviews.
asp?item_code=8. 557492& catNum=557492& filetype=About this Recording& language=English). Naxos Records. . Retrieved 2007-12-10.
[3] http:/ / www. helmutschmidinger. at/ werkverzeichnis/ werkkapitel/ kap312. htm
[4] "Publisher List with Sessions' Double Concerto" (http:/ / www. presser. com/ sessions. html). Theodore Presser. . Retrieved 2007-11-11.
English horn
A number of concertos and concertante works have been written for cor anglais (English horn) and string, wind,
chamber, or full orchestra.
English-horn concertos appeared about a century later than oboe solo pieces, mostly because until halfway through
the 18th century different instruments (the taille de hautbois, vox humana and the oboe da caccia) had the role of the
tenor or alto instrument in the oboe family. The modern English horn was developed from the oboe da caccia in the
1720s, probably in Silesia. The earliest known English-horn concertos were written in the 1770s, mostly by
prominent oboists of the day, such as Giuseppe Ferlendis, Ignaz Malzat (and his non-oboist brother Johann Michael
Malzat) and Joseph Lacher[1] . Few of these works have survived. Among the oldest extant English-horn concertos
are those by Josef Fiala (a period transcription of a piece originally for viola da gamba) and Anton Milling. It is
known that Milling's concerti were performed in 1782 by the Italian oboist Giovanni Palestrina at a concert in
Hamburg [1] .
Many solos in orchestral works were written for the English horn and a decent amount of chamber music appeared
for it as well. However, few solo works with a large ensemble were written for the instrument until well into the 20th
century. Since then the repertoire has expanded considerably. Of the 270+ concertos listed below only 35 predate the
Second World War.
Solo concertos
Composer Title [2] Accompaniment Length Publisher Record label
Year
(min.)
Raffaele Serenade, op. 12 1936 strings and timpani 8' Amadeus Pan (Qualiton)
d'Alessandro
William Alwyn Autumn Legend 1954 strings 12' Lengnick Lyrita; Chandos;
Naxos
Hans Willy Bergen Bucolica 1952 orchestra 3' Bernbach; M.M. Cole
and Peters
English horn 42
Jo van den Booren Suite Dionysienne, op. 10 1964 strings 13' Donemus
Colin Brumby Scena for cor anglais 1988 strings 9' Phylloscopus ABC Classics
Brian Cherney In the stillness of September 1942 1992 orchestra Doberman-Yppan Centrediscs
David Diamond Elegy in memory of William 1963 strings 9' Peer Music
Faulkner (No. 1 of Elegies for flute,
EH, and string orch.)
Gaetano Donizetti Concertino in G major, In. 608 1816 orchestra 11' Peters; Litolff 8+ recordings
Josef Fiala Concerto in E-flat orchestra 12' Cesky Hudebni Fond Philips
1780
[11]
Juraj Filas Ora pro nobis, Fantaisie concertante 2000 orchestra Bim Editions
Ernst Fischer First piece of “Drei Stücke” > Idylle 1948 orchestra 4' Robert Forberg
Peter Racine Fricker Concertante No.1, op. 13 1950 strings 13' Schott
Peter Paul Fuchs Fantasy 1974 strings 12' Belwin & Mills
John Linton Gardner The Last Prelude, op. 247 2003 strings MS
Urho Hallaste Lyyrillinen sarja (Lyric Suite) 1962 strings 14' FMIC
Sydney Phillip [16] 1977 strings percussion 26' Presser New World
The Edge of the Old One
Hodkinson
Gordon Jacob [17] 1948 strings 9' Steiner & Bell; Golden Crest
Rhapsody
Galaxy
Joseph Kaminski Variations on an Israeli theme 1958 strings Israeli Music Institute
Aaron Jay Kernis Colored Field 1994 orchestra 41' Schirmer Argo
Erland von Koch Fantasi över en svensk vallåt 1975 strings SMIC
Marek Kopelent Concertino 1984 orchestra 19’ Breitkopf und Härtel Praga
Karl-Heinz Köper Der Schwan von Pesaro 1979 orchestra 12' Köper Verlag
Bernhard Krol Consolazione concerto, op. 70 1980 strings Bote & Bock
Aubert Lemeland L'automne et ses envols d'étourneaux, 1990 harp strings 12' Billaudot Skarbo
op. 145
Gerald Levinson From Erebus and black night 1979 orchestra Philharmusic
Bruno Maderna [6] [7] 1973 orchestra 17' Ricordi BVHaast; Col
Concerto n.3
Legno
Walter Mourant Elm St, Fairbury, Illinois 1954 strings 7' ACA
Krzysztof Adagietto from the "Paradise Lost" 1979 strings 5' MS Dux
Penderecki
Anton Reicha Scène (Recitative and Rondo) 1811 orchestra McGinnis & Marx; Philips
Amadeus
Ned Rorem [16] [24] 1992 orchestra 23' Boosey & Hawkes New World
Concerto
Arnold Rosner Five meditations, op. 36 1967 harp strings 18' Laurel
François Sarhan Cinq pièces: "Études pour la Fleur 2004 orchestra 12'
inverse“
Jean Sibelius The Swan of Tuonela, op. 22/3 1893 orchestra 9' Doblinger 125+ records
Tomas Svoboda Chorale from 15th Century, op. 52f 1993 strings 4'
Ermanno Concertino in A-flat, op. 34 1947 orchestra 27’ Leuckart; Peters CPO; Koch;
Wolf-Ferrari Tactus (2x)
Luigi Ave Maria: Offertorium 1816 soprano orchestra 5' Fentone; 9+ recordings
Cherubini Kalmus
Aaron Copland Quiet City 1940 trumpet strings 10' Boosey & 46+ recordings
Hawks
Jan van Dijk Suite pastorale, op. 199 1953 oboe orchestra Donemus
Johannes Concerto da camera I, op. 51 1962 flute, violin strings Boosey &
Driessler Hawks
Roderick Elms Cygncopations - Reverie et Danse 2003 vibraphone orchestra 7' Dutton
Josef Fiala Concertante in B flat 1780 clarinet orchestra 20' Musica Rara Arte Nova
Percy Grainger Colleen Dhas (The Valley Lay 1904 flute, guitar strings 4' Bardic Cala; Chandos;
Smiling) Koch
Arthur Concerto da Camera 1948 flute strings 17' Salabert 12+ recordings
Honegger
Alan Anahid op.57 1944 flute, trumpet strings, 14' Peters Crystal
Hovhaness percussion
Charles Ives [32] 1914 flute strings, piano 2' Peer Music EMI, Sony,
The Rainbow
Unicorn
Kanchana
Karl Heinz Concertino Tricolore 1974 bass clarinet, strings 12' Köper
Köper bassoon
Knut Nystedt [13] 1952 clarinet strings 19' NMIC Norsk Komponist
Concertino, op. 29
Forening
Irving Robbin Concerto for oboes and strings 1983 oboe, oboe strings
d'amore
Nicola Kemit, canti e danze del giovane 2002 soprano, viola orchestra Latzina
Scardicchio Horus
Othmar Serenade, op. 27 1930 oboe strings 5' Breitkopf & CPO
Schoeck Härtel
Max Schubel Elation "Uniesienie" 2002 bariton, cello orchestra 8' Opus One
Rodion Shepherd's Pipes of Vologda 1995 oboe, horn strings 8' Schott
Shchedrin (Hommage to Bartók), op. 91
Robert Starer Concerto a quattro 1983 oboe, clarinet, orchestra 22' MCA MMC
bassoon
Clive Strutt Suite in G minor after Loeillet 1996 oboe strings, 22' SMC
harpsichord
Francis Thorne Triple Concerto 2004 bass clarinet, orchestra 23' Presser
viola
English horn 50
Graham Les Roseaux Au Vent 1993 2 oboes, bassoon strings 17' Meriden
Whettam
Isang Yun Duetto concertante 1987 oboe strings 18' Bote & Bock
Sources
• William Wallace McMullen, Soloistic English Horn Literature from 1736-1984 [34], Pendragon Press, 1994
• Sandro Caldini, The English Horn Bibliography [35] at the international Double Reed Society's website.
• David Lindsey Clark, Appraisals of Original Wind Music [36], Greenwood Publ. 1999, pp 148–152.
Flute concerto
A flute concerto is a concerto for solo flute and instrumental ensemble, customarily the orchestra. Such works have
been written from the Baroque period, when the solo concerto form was first developed, up through the present day.
Some major composers have contributed to the flute concerto repertoire, with the best known works including those
by Mozart, and Vivaldi.
Traditionally a three-movement work, the modern-day flute concerto has occasionally been structured in four or
more movements. In some flute concertos, especially from the Baroque and modern eras, the flute is accompanied by
a chamber ensemble rather than an orchestra.
The 20th century saw the flute concerto championed by the famous French flutist Jean-Pierre Rampal.
Selected repertoire
The following concertos are presently found near the centre of the mainstream Western repertoire for the flute.
Baroque
Classical
Romantic
Modern
Harmonica concerto
Since the 1940s, a number of concertos (as well as
non-concerto works) have been written for the
harmonica, both as a solo instrument as well as in
conjunction with other solo instrument(s), and
accompanied by string orchestra, chamber orchestra,
A chromatic harmonica
full orchestra, band, or similar large ensemble.
Nearly all harmonica concertos are composed for the
chromatic harmonica, with the exception of the 2001 concerto for the diatonic harmonica by Howard Levy.
• Terje Rypdal: Modulations for Harmonica and Orchestra (1981, for Sigmund Groven)
• Henri Sauguet - The Garden's Concerto (1970)
• composed for Claude Garden
• Max Saunders: Sonatina for Harmonica and Piano (1978, for Tommy Reilly)
• Max Saunders: Invention for Two Harmonicas, Strings and Harp (1976, for Tommy Reilly and Sigmund Groven)
• Kenneth Sivertsen: The Oak Tree, for Harmonica and Strings (1995, for Sigmund Groven)
• Øistein Sommerfeldt: Harmonica Fantasia (1979, for Sigmund Groven)
• Henning Sommerro: Concertino for Harmonica and Orchestra (2008. for Sigmund Groven)
• Michael Spivakovsky - Concerto (1951)
• composed for Tommy Reilly
• Siegfried Steinkogler - Harmonica Concerto (2001, for Sigmund Groven)
• Vilem Tausky - Concertino (1963)
• composed for Tommy Reilly
• Alexander Tcherepnin - Concerto for Harmonica and Orchestra, Op. 86 (1953)
• composed for John Sebastian
• Fried Walter: Ballade and Tarantella for Harmonica and Orchestra (1961, for Tommy Reilly)
• Fried Walter: The Adventures of Corporal Smith, for Harmonica and Big Band (1968, for Tommy Reilly)
• Fried Walter: Duettino for two Harmonicas and Orchestra (1969 for Tommy Reilly and Sigmund Groven)
• Francis Ward: Kaleidoscope for Harmonica and Orchestra (1964, for Tommy Reilly)
• Ralph Vaughan Williams - Romance in D-flat for harmonica, piano, and strings (1951)
• composed for Larry Adler
• Heitor Villa-Lobos - Concerto for Harmonica and Orchestra (1955)
• composed for John Sebastian
• Graham Whettam - Fantasy (1953)
• composed for Tommy Reilly
• Graham Whettam - Concerto Scherzoso, Op. 9 (1951)
• composed for Larry Adler
• Graham Whettam - Second Concerto, Op. 34
• composed for Tommy Reilly
• Rudolf Wurthner - Intermezzo Giocoso (1957)
• Corky Siegel
• Corky Siegel's Chamber Blues – Chamber Blues (1994 – Alligator)
• Complementary Colors – Chamber Blues (1998 – Gadfly)
• Corky Siegel's Traveling Chamber Blues Show – Chamber Blues (2005 – Alligator)
• A good portion of Chamber Blues material is written as a harmonic concerto. i.e. Opus 7, Opus 8, Opus 12
Filisko's Dream, Opus 13 Unfinished Jump, Opus 17, Opus 18, Opus 19, Opus 20, Opus 21, Opus 22, Five
Planets in Harmonica Convergence, .. all for Harmonica and String Quartet with East Indian Tabla is some
cases.
Harmonica concerto 58
External links
• Classical Harmonica [1]
• http://www.chamberblues.com
References
[1] http:/ / www. ksanti. net/ free-reed/ history/ harmonica. html
Harpsichord concerto
A harpsichord concerto is a piece of music for an orchestra with the harpsichord in a solo role (though for another
sense, see below.) Sometimes these works are played on the modern piano; see piano concerto. For a period in the
late 18th century, Joseph Haydn and Thomas Arne wrote concertos which could be played interchangeably on both
harpsichord, fortepiano and (in some cases) pipe organ.
External links
• http://piano-concertos.org/- a list of classical and romantic piano concertos
Oboe concerto 60
Oboe concerto
A number of concertos (as well as non-concerto works)
have been written for the oboe, both as a solo
instrument as well as in conjunction with other solo
instrument(s), and accompanied by string orchestra,
chamber orchestra, full orchestra, band, or similar large
ensemble.
Baroque
• Tomaso Albinoni • Alessandro Marcello
• Johann Sebastian Bach • Johann Joachim Quantz
• Arcangelo Corelli (arranged by John Barbirolli from other works by Corelli) • Alessandro Scarlatti
• Joseph-Hector Fiocco • Georg Philipp Telemann
• Christoph Graupner • Antonio Vivaldi
• George Frideric Handel
Classical
• Carl Philipp Emanuel Bach • William Herschel
• Johann Christian Bach • Ignaz Holzbauer
• Johann Nepomuk Hummel
• Ludwig van Beethoven[1]
• Carlo Besozzi • Franz Krommer
• Domenico Cimarosa • Ludwig August Lebrun
• Carl Ditters von Dittersdorf • Wolfgang Amadeus Mozart
• Josef Fiala • Antonio Rosetti
• Joseph Haydn • Antonio Salieri
• Carl Stamitz
Oboe concerto 61
Romantic
• Vincenzo Bellini
• Jan Kalivoda
• August Klughardt
• Bernhard Molique
• Ignaz Moscheles
• Antonio Pasculli
• Nikolai Rimsky-Korsakov (oboe and band)
• Richard Strauss
• Stanislas Verroust
• Carl Maria von Weber (with winds)
Contemporary
• Kalevi Aho • Eugene Goossens • Thea Musgrave
• William Alwyn • Michael Zev Gordon • Arne Nordheim
• David Amram • Helen Grime • Sean Osborn
• Hendrik Andriessen • John Harbison • Krzysztof Penderecki
• Louis Andriessen • Jonathan Harvey • Haim Permont
• Malcolm Arnold • Christos Hatzis • Osmo Tapio Räihälä
• Tadeusz Baird • Hans Werner Henze • Bernard Rands
• Leonardo Balada • Frigyes Hidas • Alan Rawsthorne
• Samuel Barber • Jennifer Higdon • Wolfgang Rihm
• Sally Beamish • Heinz Holliger • George Rochberg
• David Bedford • Gustav Holst • Christopher Rouse
• Arthur Benjamin (on themes of Domenico Cimarosa) • Arthur Honegger • Edwin Roxburgh
• Richard Rodney Bennett • Jacques Ibert • Andrey Rubtsov
• Luciano Berio • Gordon Jacob • Poul Ruders
• Lennox Berkeley • John Joubert • Harald Sæverud
• Michael Berkeley • Jouni Kaipainen • Esa-Pekka Salonen
• John Biggs • Graeme Koehne • Sven-David Sandström
• Benjamin Britten • Thomas Oboe Lee • Peter Schickele
• Anthony Burgess • György Ligeti • Alfred Schnittke
• Elliott Carter • Robert Linn • Leif Segerstam
• Mario Castelnuovo-Tedesco • Malcolm Lipkin • Roger Steptoe
• John Corigliano • Bent Lorentzen • Hilary Tann
• Henry Cowell • Witold Lutosławski • John Tavener
• Peter Maxwell Davies • Salvatore Macchia • Joan Tower
• Edison Denisov • Bruno Maderna • Ralph Vaughan Williams
• Antal Doráti • Ursula Mamlok • Carl Vine
• Bill Douglas • Frank Martin • Gwyneth Walker
• Joël-François Durand • Bohuslav Martinů • Grace Williams
• Ross Edwards • Nicholas Maw • Ermanno Wolf-Ferrari
• Edward Elgar • Darius Milhaud • John Woolrich
• Morton Feldman • Anthony Milner • Marco Aurelio Yano
• Lukas Foss • Paul Moravec • Isang Yun
• Jean Françaix • Dominic Muldowney • Bernd Alois Zimmermann
• John Gardner • David Mullikin • Ellen Taaffe Zwilich
Oboe concerto 62
References
[1] http:/ / www. usatoday. com/ news/ world/ 2003-03-02-beethoven_x. htm
Organ concerto
An organ concerto is a piece of music, an instrumental concerto for a pipe organ soloist with an orchestra. The form
first evolves in the 18th century, when composers including George Frideric Handel, Antonio Vivaldi and Johann
Sebastian Bach wrote organ concertos with small orchestras, and with solo parts which rarely call for the organ pedal
board. A few Classical and Romantic works are extant. Finally, there are some 20th- and 21st-century examples, of
which the concerto by Francis Poulenc has entered the repertoire, and is quite frequently played.
The organ concerto form is not usually taken to include orchestral works that call for an organ used as an extra
orchestral section, examples of which include the Third Symphony of Camille Saint-Saëns, Gustav Holst's The
Planets or Richard Strauss's Also sprach Zarathustra.
G. F. Handel (1685-1759)
Handel wrote organ concertos as interludes for his oratorios—playing the organ part himself while directing the
orchestra. Some are arrangements of his earlier works, or of works by other composers. For more details see the list
of Handel's concertos. Many alternatives exist, so it is difficult to precisely number his organ concertos, however it is
generally accepted that he wrote 16:
1. HWV 289 - Op. 4 No. 1 in G minor: larghetto, allegro, adagio, andante
2. HWV 290 - Op. 4 No. 2 in B flat major: tempo ordinario, allegro, adagio, allegro ma non troppo
3. HWV 291 - Op. 4 No. 3 in G minor: adagio, allegro, adagio, allegro
4. HWV 292 - Op. 4 No. 4 in F major: allegro, andante, adagio, allegro
5. HWV 293 - Op. 4 No. 5 in F major: larghetto, allegro, alla siciliana, presto
6. HWV 294 - Op. 4 No. 6 in B flat major: andante, allegro, larghetto, allegro moderato
7. HWV 306 - Op. 7 No. 1 in B flat major: andante, allegro, largo, adagio, allegro
8. HWV 307 - Op. 7 No. 2 in A major: overture, tempo ordinario, tempo ordinario II, allegro
9. HWV 308 - Op. 7 No. 3 in B flat major: allegro, fuga, spiritoso, minuets 1 & 2
10. HWV 309 - Op. 7 No. 4 in D minor: adagio, allegro, adagio, allegro
11. HWV 310 - Op. 7 No. 5 in G minor: allegro ma non troppo, adagio, andante, minuet, gavotte
12. HWV 311 - Op. 7 No. 6 in B flat major: pomposo, adagio, tempo ordinario
13. HWV 295a - F major (No. 13): largo, allegro, larghetto, allegro
HWV 295b - second version: larghetto, allegro, larghetto, allegro
14. HWV 296a - A major (No. 14) : largo e staccato, andante, grave, allegro
HWV 296b - second version, Pasticcio Konzert: andante, adagio, grave, andante allegro, a tempo ordinario
15. HWV 304 - D minor (No. 15) : andante, adagio, allegro
16. HWV 305a - F major (No. 16) : concerto, allegro, andante, andante allegro
HWV 305b - second version: overture, allegro, andante, andante allegro
Organ concertos arranged from Concerto Grossi, Op.6:
1. HWV 297 - D minor, after HWV 328: overture, air, allegro, allegro, allegro moderato
2. HWV 298 - G major, after HWV 319: a tempo giusto, allegro, adagio, allegro, allegro
Organ concerto 63
3. HWV 299 - D major, after HWV 323 : larghetto e staccato, allegro, presto, largo, allegro, minuet un poco
larghetto
4. HWV 300 - G minor, after HWV 324 : largo e affettuoso, a tempo giusto, musette larghetto, allegro, allegro
BWV 592 G major after Johann Ernst de Saxe-Weimar allegro, grave (E minor), presto
Transcription of a concerto for violin, strings and continuo
BWV 593 A minor after Antonio Vivaldi allegro, adagio (D minor) senza pedale a due claviere,
Based on Op. 3 No. 8 for 2 violins and basso continuo allegro
(RV 522)
BWV 594 C major after Antonio Vivaldi allegro, adagio (A minor), recitativ, allegro - cadenza -
Based on Op. 7 No. 5 for violin and basso continuo (RV 208) allegro
BWV 595 C major After Johann Ernst de Saxe-Weimar Uses the first movement only.
BWV 596 D minor after Vivaldi or W.F. Bach allegro - grave - fuga, largo e spiccato, finale allegro
Based on Op. 3 No. 11 - RV 565 by Vivaldi or Op. XII by
W.F. Bach
References
• Concerto pour orgue See the French Wikipedia page for a more complete list.
References
[1] http:/ / www. classical. net/ music/ comp. lst/ works/ bachjs/ cantatas/ 146. php
[2] http:/ / www. classical. net/ music/ comp. lst/ works/ bachjs/ cantatas/ 035. php
[3] http:/ / www. bach-cantatas. com/ NVP/ Koopman-NV3. htm
[4] http:/ / www. carus-verlag. com/ index. php3?BLink=KKWerk& WerkID=7490& Action=kkwerk
[5] http:/ / www. carus-verlag. com/ index. php3?BLink=KKWerk& WerkID=7489& Action=kkwerk
[6] http:/ / www. guilmant. nl/
[7] http:/ / www. guilmant. nl/ opus_3544. html
Piano concerto
A piano concerto is a concerto written for piano and
orchestra. See also harpsichord concerto; some of these
works are occasionally played on piano. Joseph Haydn
and Thomas Arne wrote concertos for fortepiano or
harpsichord, at the period of time when they were in
common usage (the late 18th century).
History
Mozart wrote many of his 27 piano concertos for himself to perform (he also wrote concerti for two and three
pianos). With the development of the piano virtuoso many composer-pianists did likewise, notably Ludwig van
Beethoven, Carl Maria von Weber, Frédéric Chopin, Franz Liszt, Camille Saint-Saëns, Sergei Rachmaninoff and
Sergei Prokofiev, and also the somewhat lesser-known Johann Nepomuk Hummel and John Field. Many other
Romantic composers wrote pieces in the form, well known examples including the concerti by Robert Schumann,
Edvard Grieg, Johannes Brahms, and Pyotr Ilyich Tchaikovsky. Edward Elgar made sketches for a piano concerto
but never completed it.
In the 19th century, Henry Litolff blurred the boundary between a piano concerto and symphony in his five works
entitled Concerto Symphonique, and Ferruccio Busoni added a male choir in the last movement of his hour-long
concerto. In a more general sense, the term "piano concerto" could extend to the numerous often programmatic
concerted works for piano and orchestra from the era – Beethoven's Choral Fantasy, Liszt's Totentanz and Ruins of
Athens Variations, and Richard Strauss's Burleske are only a few of the hundreds of such works.
The few well-known piano concerti which dominate today's concert programs and discographies account for only a
minority of the repertoire which proliferated on the European music scene during the 19th century.
Piano concerto 67
Characteristics
Form
A classical piano concerto is often in three movements.
1. A quick opening movement in sonata form including a cadenza (which may be improvised by the soloist).
2. A slow, free expressive movement
3. A faster rondo
Examples by Mozart and Beethoven follow this model, but there are many others which do not. Beethoven's fourth
concerto includes a last-movement cadenza, and many composers have introduced innovations – for example Liszt's
single-movement concerti.
Piano concerto 68
References
[1] Maurice Hinson, Music for Piano and Orchestra, an annotated guide, Indiana University Press, 1993
External links
• Hyperion's Romantic Piano Concerto Series (http://www.hyperion-records.co.uk/s.asp?s=S_1) (a commercial
website selling recordings on CD)
• Rachmaninoff's Works for Piano and Orchestra (http://classyclassical.blogspot.com/2005/09/
rachmaninoffs-works-for-piano-and.html) An analysis of Rachmaninoff's Works for Piano and Orchestra
including the Piano Concertos and the Paganini Rhapsody.
• Classical and Romantic Piano Concertos (http://piano-concertos.org/), an extensive list of Classical and
Romantic piano concertos, and other music for piano and orchestra from the same period.
• Music for Piano and Orchestra: The Recorded Repertory (http://www.siue.edu/~aho/discography/
Discography.pdf), An exhaustive list of recorded works for piano and orchestra.
Timpani concerto
A timpani concerto is piece of music written for timpani with orchestral accompaniment. It is usually in three parts
or movements.
The first timpani concertos were written in the Baroque and Classical periods of music. Important concertos from
these eras include Johann Fischer's Symphony for Eight Timpani and Georg Druschetzky's Concerto for Six
Timpani. During the Romantic Period, the timpani concerto was largely ignored. The timpani concerto was revived
in the 20th century and the timpani concerto repertoire increased significantly. Important works of the Modern era
are William Kraft's Concerto for Timpani and Orchestra, Ney Rosauro's Concerto for Timpani and Orchestra, and
Philip Glass's Fantasy Concerto for Two Timpanists and Orchestra.
Triple concertos for violin, cello, and piano 69
A
• Fikret Amirov
• To the Memory of Ghadsibekov, poem for violin, cello, piano and orchestra (1949)
• Lera Auerbach
• Serenade for a Melancholic Sea for violin, cello, piano and string orchestra op. 68 (2002) (Dedicated to Gidon
Kremer)
B
• Henk Badings
• Concertino (1942)
• Ludwig van Beethoven
• Concerto for Violin, Cello, and Piano in C major, Op. 56, more commonly known as the Beethoven Triple
Concerto (1804)
• Wilhelm Georg Berger (1929–1993)
• Concerto for Violin, Cello Piano and Orchestra, Op. 64 (1984)
C
• Alfredo Casella
• Triple Concerto op.56 (1933) [1]
• Paul Constantinescu
• Triplu concert (1963)
F
• Lorenzo Ferrero
• Concerto for violin, violoncello, piano and orchestra, (1995)
• Benjamin Frankel
• Serenata Concertante for piano trio and orchestra, one movement (in parts,) op. 37, (1960)
Triple concertos for violin, cello, and piano 70
G
• Giorgio Federico Ghedini
• Concerto dell´Albatro (The albatross concerto) for violin, cello, piano, and orchestra (with narrator) (1945)
H
• Daron Hagen
• Orpheus and Eurydice for violin, cello, piano and orchestra (2006)
• Bernard Heiden
• Triple concerto (1957) [2]
• Alun Hoddinott
• Triple concerto op. 124 (1986) [3]
• Vagn Holmboe
• Concerto for violin, cello and chamber orchestra (once called Chamber concerto no. 4) M.139 (1942) [4]
J
• Paul Juon
• Concerto (Episodes concertantes) for violin, violoncello, and piano with orchestra [d minor] op.45 (1911)
M
• Gian Francesco Malipiero
• Concerto a tre (1938)
• Bohuslav Martinů
• Concertino H.232 with string orchestra (1933) [5]
• Concert H.231 (1933)
• Emánuel Moór
• Triple Concerto op.70 [6]
R
• Marga Richter
• Variations and Interludes on Themes from Monteverdi and Bach for violin, cello, piano and orchestra (1992)
T
• Alexander Tcherepnin
• Triple Concerto op.47 (1931)
• Triple Concerto op.47-bis (1967)
Triple concertos for violin, cello, and piano 71
V
• Kevin Volans
• Trio Concerto (2005)
• Jan Václav Voříšek
• Grand Rondeau concertant op.25 (1825)
W
• Wolfram Wagner
• Concerto for Violin, Cello, Piano and orchestra (1997)
• Robert Ward
• Dialogues (1986, also arranged for piano trio) [7]
• Stanley Weiner
• Triple concerto, opus 71 [8]
Z
• Ellen Taaffe Zwilich
• Triple concerto for violin, cello and piano and Orchestra (1995, premiered 1996) [9]
References
[1] Woolf, Jonathan (October 2006). "Review of a Recording of Casella's Violin and Triple Concertos" (http:/ / www. musicweb-international.
com/ classrev/ 2006/ Oct06/ casella_71099. htm). MusicWeb. .
[2] "Publisher catalog reference for Bernard Heiden's concerto" (http:/ / www. schirmer. com/ default. aspx?TabId=2420& State_2874=2&
workId_2874=28880). Schirmer. . Retrieved 2007-11-10.
[3] Lewis, Geraint (August 1989). "Hoddinott and the Symphony". The Musical Times (The Musical Times Publications Ltd.) 130 (1758): 459.
ISSN 0027-4666. JSTOR 1193599.
[4] Rapoport, Paul (1996). The compositions of Vagn Holmboe : a catalog of works and recordings with indexes of persons and titles.
Copenhagen: Wilhelm Hansen. p. 37. ISBN 87-598-0813-6.
[5] Barnett, Rob (June 2003). "Review of 1997 Recording of Martinů Trio Concertino" (http:/ / www. musicweb-international. com/ classrev/
2003/ Jun03/ martinu_trios_centaur. htm). MusicWeb. . Retrieved 2007-11-03.
[6] Baker, Theodore; Alfred Remy (1919). Baker's Biographical Dictionary of Musicians, 3rd Edition, Revised and Enlarged (http:/ / books.
google. com/ books?id=H2kNAAAAIAAJ& pg=PA621& lpg=PA621& dq=moor+ opus+ 70& source=web& ots=NLQtPXLorv&
sig=GPiKUhTXgZq710P3Cfg5CFlb6tY). New York: G. Schirmer. p. 621. OCLC 752566. .
[7] Farrell, Peter (June 1988). "Music Reviews". Notes: 2nd Series (Music Library Association) 44 (4): 831–2. JSTOR 941061.
[8] "U.S. Distributor Catalog Page for Stanley Weiner's Triple Concerto" (http:/ / www. schirmer. com/ default. aspx?TabId=2420&
State_2874=2& workId_2874=34371). Schirmer. . Retrieved 2007-11-10.
[9] "Ellen Taaffe Zwilich page with Information on Triple concerto" (http:/ / www. presser. com/ Composers/ info.
cfm?Name=ELLENTAAFFEZWILICH). Theodore Presser Company. . Retrieved 2007-11-10.
External links
• Anthology of 20th century violin concertos (http://www.violinconcerto.de)
• Triple concerto on the page of Daron Hagen (http://www.daronhagen.com/new/works/index.html)
• Altenberg Piano Trio Repertoire Page (http://www.altenbergtrio.at/?site=repOtherEnsembles&
repcat=tripelkonzerte)
Trumpet concerto 72
Trumpet concerto
A trumpet concerto is a concerto for solo trumpet and instrumental ensemble, customarily the orchestra. Such
works have been written from the Baroque period, when the solo concerto form was first developed, up through the
present day. Some major composers have contributed to the trumpet concerto repertoire, with the best known work
being Joseph Haydn's Trumpet Concerto in E-flat.
Traditionally a three-movement work, the modern-day trumpet concerto has occasionally been structured in four or
more movements. In some trumpet concertos, especially from the Baroque and modern eras, the trumpet is
accompanied by a chamber ensemble rather than an orchestra.
Baroque Era
Johann Sebastian Bach
• Brandenburg Concerto No. 2
George Friedrich Handel
• Trumpet Concerto in D minor
Antonio Vivaldi
• Concerto for 2 Trumpets in C
Giuseppe Torelli
• Trumpet Concerto in D G.9
Valentin Rathgeber
• Concerto for 2 Trumpets in E flat Op. 6 No. 15
Jeremiah Clark
• Suite in D (Orchestral Suite with Prominent Trumpet Solos)
Classical Era
Joseph Haydn
• Trumpet Concerto in E-Flat Major (keyed trumpet)
Michael Haydn
• Trumpet Concerto in C Major (natural trumpet)
Johann Nepomuk Hummel
• Trumpet Concerto in E Major (keyed trumpet)
Leopold Mozart
• Trumpet Concerto in D Major (natural trumpet)
Trumpet concerto 73
Romantic Era
Amilcare Ponchielli
• Concerto per tromba in Fa
Oskar Böhme
• Concerto in F Minor (originally in E minor)
Modern era
Alexander Arutunian
• Trumpet Concerto in A-Flat Major
Vagn Holmboe
• Trumpet Concerto
Duke Ellington
• Concerto for Cootie
William P. Perry
• Concerto for Trumpet and Orchestra
R. Murray Schafer
• The Falcon's Trumpet
Viola concerto
The viola concerto is a concerto contrasting a viola with another body of musical instruments, usually an orchestra
or chamber music ensemble. Early examples of the viola concerto include, among others, Georg Philipp Telemann's
concerto in G major, and several concertos by the Stamitz clan including Carl Stamitz. The first concertante work to
use the viola without caution (though extreme virtuosity only later became identified as the desired characteristic in
a concerto soloist) was the violin and viola Sinfonia Concertante of Mozart.
The viola has not enjoyed wide popularity as a solo instrument and, like the cello, suffers from problems of
projection against an orchestral ensemble. According to some, (such as Alfred Einstein, among others), the essence
of the concerto is not the display of virtuosity but conflict and resolution, and the viola is less suited than the piano,
or even the violin, to balance itself against an orchestra that is not deliberately underused by the composer. One must
also consider that in the past, viola players were often violinists retreated in ranks, and as such, viola soloists were
few until fairly recently. Composers like William Walton, Ralph Vaughan Williams and Paul Hindemith were
among the first to begin composing solo viola works for newer and more capable players. These players in turn
arranged works originally for other instruments, (an example being Lionel Tertis's arrangement of Edward Elgar's
cello concerto).
• Bohuslav Martinů
• Samuel Adler
• Rhapsody-Concerto for Viola and Orchestra (1952)
• Viola Concerto (1999) ([1])
• Necil Kazım Akses • Darius Milhaud
• Viola Concerto (1977) • Viola Concerto with orchestra of soloists, Op. 108 (1929; a revised version — a
version for larger orchestra was premiered by Monteux, conducting, Paul
Hindemith, viola in Amsterdam)
• Concertino d'été, Op. 311 (1951)
• Viola Concerto No. 2, Op. 340 (1955; for William Primrose) ([2])
• Air (from Sonata No. 1), Op. 242 (1944)
• Alessandro Appignani • Paul Müller-Zürich
• Viola Concerto (2008) • Viola Concerto in F minor, Op. 24 (1934)
• Malcolm Arnold • Thea Musgrave
• Viola Concerto with small orchestra, Op. 108 • Lamenting with Ariadne for Viola and Chamber Orchestra
(1971)
• Johann Sebastian Bach • Gösta Nystroem
• Brandenburg Concerto No. 6 (Solo part for two • Viola Concerto Hommage à la France (1940)
violas)
• Krzysztof Penderecki
• Simon Bainbridge
• Viola Concerto (1983)
• Viola Concerto (1976) ([3])
• Béla Bartók • Allan Pettersson
• Viola Concerto (unfinished, compl. Tibor Serly) • Viola Concerto (1979)
• Arnold Bax • Walter Piston
• Phantasy for Viola and Orchestra (1920) • Viola Concerto (1957)
• Jiří Antonín Benda • Quincy Porter
• Viola Concerto in F major (about 1775) • Viola Concerto (1948) ([4])
• Hector Berlioz • Alessandro Rolla
• Harold in Italy • Concertino in E-flat major for Viola and Orchestra (or String Quartet), BI.
328/546
• Introduction and Divertimento in F major for Viola and Large Orchestra
(incomplete), BI. 329
• Divertimento in F major for viola and orchestrad'archi, BI. 330
• Rondo in G major for viola and string orchestra, 2 oboes and 2 horns, BI.331
• Divertimento in G major for viola and orchestra, BI. 332
• Adagio and Thema with Variations in G major for viola and orchestra, BI. 333
• Concerto in C major for viola and orchestra, BI. 541
• Concerto in D major for viola and orchestra, BI. 542
• Concerto in D major for viola and orchestra, BI. 543
• Concerto in E-flat major for viola and orchestra, BI. 544
• Concerto in E-flat major for viola and orchestra, BI. 545
• Concerto in E-flat major for viola and orchestra, BI. 547
• Concerto in E major for viola and orchestra, BI. 548
• Concerto in F major for viola and orchestra, BI. 549
• Concerto in F major for viola and orchestra, BI. 550
• Concerto in F major for viola and orchestra, BI. 551
• Concerto in F major for viola and orchestra, BI. 552
• Concerto in F major for viola and orchestra, BI. 553
• Concerto in F major for viola and orchestra, BI. 554
• Concerto in B-flat major for viola and orchestra, BI. 555
• Valentin Bibik • Antonio Rolla (1798–1837)
• Concerto No. 1 for Viola and Chamber Orchestra, • Variazioni Brillanti in F major for Viola and Orchestra, Op. 13 (1822)
Op. 53 (1984)
• Concerto No. 2 for Viola and Orchestra, Op. 104
(1994)
Viola concerto 75
• John Harbison
• Viola Concerto (1988) ([9])
• Hans Henkemans
• Viola Concerto (1954, premiered 1956) ([10])
• Paul Hindemith
• Kammermusik No. 5 for Viola and Small
Orchestra
• Konzertmusik for Viola with Chamber Orchestra
• Der Schwanendreher
• Trauermusik for Viola and Strings
• Franz Anton Hoffmeister
• Viola Concerto in B flat major
• Viola Concerto in D major
• Alan Hovhaness
• Talin for Viola and Strings, Op. 93, No. 1
(1951–52)
• Johann Nepomuk Hummel
• Fantasy for Viola and Orchestra, Op. 94
• Gordon Jacob
• Concerto for Viola and Orchestra (1925)
• Viola Concerto No. 2 (1979) ([11])
• Joseph Jongen
• Suite, Op. 48 (1915)
• Giya Kancheli
• Viola Concerto Mourned by the Wind (1986)
• Nigel Keay
• Viola Concerto (2000) ([12])
• Erland von Koch
• Viola Concerto, Op. 33 (1946 rev. 1966)
• Victor Legley
• Viola Concerto, Op. 78 (1971) ([13])
External links
• Viola website, hosting information about the viola. [15]
• Michael Haydn page with Many Classical and Early-Romantic Worklists [16]
• Viola Fan Club and Repertoire List [17]
• Viola in music [18] - The role of viola in music. Information, description of works, videos, free sheet music, MIDI
files, RSS update.
References
[1] http:/ / www. recordsinternational. com/ RICatalogFeb03. html
[2] http:/ / www2. potsdam. edu/ CRANE/ martinka/ milhaud. htm
[3] http:/ / www. ump. co. uk/ bainbridge. htm
[4] http:/ / www. newmusicbox. org/ first-person/ nov99/ quincyporter. html
[5] http:/ / web. telia. com/ ~u48022134/ worklist_1942-1943. html
[6] http:/ / www. musicweb-international. com/ rosza/ rosza. htm
[7] http:/ / www. rebeccaclarke. org/ june8. html
[8] http:/ / library. duke. edu/ music/ vanhal/ wanhal7. html
[9] http:/ / www. schirmer. com/ Default. aspx?TabId=2420& State_2874=2& workId_2874=24173
[10] http:/ / www. klassiekemuziekgids. net/ componisten/ henkemans. htm
[11] http:/ / www. musicweb-international. com/ Classpedia/ Jacob. htm
[12] http:/ / www. nigelkeay. com/ violaconcerto. htm
[13] http:/ / www. cebedem. be/ composers/ legley_vic/ en. html
[14] http:/ / www. zdenek-lukas. cz/
[15] http:/ / www. viola. com/
[16] http:/ / www. haydn. dk/ index. php
[17] http:/ / www. ne. jp/ asahi/ rumi/ viola/ vfc/ vfcmainpage. html#_HOME_
[18] http:/ / www. viola-in-music. com
Violin concerto 78
Violin concerto
A violin concerto is a concerto for solo violin
(occasionally, two or more violins) and instrumental
ensemble, customarily orchestra. Such works have
been written since the Baroque period, when the solo
concerto form was first developed, up through the
present day. Many major composers have contributed
to the violin concerto repertoire, with the best known
works including those by Bach, Barber, Bartók,
Beethoven, Berg, Brahms, Bruch, Dvořák,
Mendelssohn, Mozart, Paganini, Prokofiev,
Saint-Saëns, Schoenberg, Shostakovich, Sibelius,
Tchaikovsky, and Vivaldi. Traditionally a
three-movement work, the violin concerto has been David Oistrakh playing a violin concerto
structured in four movements by a number of 20th
Century composers, including Shostakovich, Igor Stravinsky, and Berg (in the latter, the first two and last two
movements are connected, with the only break coming between the second and third). In some violin concertos,
especially from the Baroque and modern eras, the violin (or group of violins) is accompanied by a chamber ensemble
rather than an orchestra—for instance, Vivaldi's L'estro Armonico, originally scored for four violins, two violas,
cello, and continuo, and Allan Pettersson's first concerto, for violin and string quartet.
• Niccolò Paganini
• Violin Concerto No. 1 in D major, Op. 6, MS 21 (ca. 1811–17)
• Violin Concerto No. 2 in B minor, Op. 7, MS 48, La Campanella (1826)
• Violin Concerto No. 3 in E major, MS 50 (ca. 1826–30)
• Violin Concerto No. 5 in A minor (1830)
• Walter Piston
• Violin Concerto No. 1 (1939)
• Violin Concerto No. 2 (1960)
• Sergei Prokofiev
• Violin Concerto No. 1 in D major, Op. 19 (1917)
• Violin Concerto No. 2 in G minor, Op. 63 (1935)
• Camille Saint-Saëns
• Violin Concerto No. 2 in C major, Op. 58 (1858)
• Violin Concerto No. 3 in B minor, Op. 61 (1880)
• Arnold Schoenberg
• Violin Concerto, Op. 36 (1936)
• Robert Schumann
• Violin Concerto, WoO 23 (1853)
• Dmitri Shostakovich
• Violin Concerto No. 1 in A minor, Op. 77 (1948, rev. 1955 as Op. 99)
• Violin Concerto No. 2 in C-sharp minor, Op. 129 (1967)
• Jean Sibelius
• Violin Concerto in D minor, Op. 47 (1904)
• Pyotr Ilyich Tchaikovsky
• Violin Concerto in D major, Op. 35 (1878)
• Joan Tower
• Violin Concerto (1992)
• Antonio Vivaldi — many, particularly:
• L'estro Armonico, Op. 3 (1711)—twelve concertos, No. 6 (A minor) frequently played by students
• La stravaganza, Op. 4 (ca. 1714)
• The Four Seasons (ca. 1725)—four concertos, the first four numbers of Il cimento dell'armonia e
dell'inventione, Op. 8
• Charles Wuorinen
• Concerto for Amplified Violin and Orchestra (1972)
• Rhapsody for Violin and Orchestra (1984)
• Spin5 for Violin and 18 players (2006)
Violin concerto 81
• Maurice Ravel
• Tzigane
External links
• Anthology of 20th century violin concertos [1]
82
Examples
Instrumentation
The concerto is scored for a solo bassoon and an orchestra consisting of 2 oboes, a bassoon, 2 horns in F and strings.
Structure
The piece itself is divided into three movements:
• I. Allegro
• II. Andante ma Adagio
• III. Rondo: tempo di menuetto
The first movement is written in the common sonata form with an orchestral introduction. The second movement is a
slow, lyrical movement that contains a theme which was later featured in the Countess's aria "Porgi, Amor" at the
beginning of the second act of Mozart's opera Le nozze di Figaro. The final movement is in rondo form and is
probably reminiscent of a dance of the time.
Notes
[1] Eisen, Cliff: 'Concerto', Grove Music Online ed. L. Macy (Accessed 6 August 2006),
<http://www.grovemusic.com.turing.library.northwestern.edu>
[2] Sleeve note of the Supraphon CD (SU 3678-2 001) (http:/ / www. supraphon. cz/ cs/ katalog/ databaze-titulu/ detail-titulu/ ?idtitulu=2002735)
[3] Mozart, W. A.; Giegling, Franz (foreword) (2003). Konzert in B für Fagott und Orchester. Kassel: Bärenreiter-Verlag. p. VII. ISMN
M-006-45809-7
[4] Waterhouse, William: 'Bassoon', Grove Music Online ed. L. Macy (Accessed 6 August 2006),
<http://www.grovemusic.com.turing.library.northwestern.edu>
Bassoon Bassoon Concerto (Mozart) 83
External links
• Konzert in B für Fagott und Orchester KV 191 (186e): Score (http://dme.mozarteum.at/DME/nma/nma_cont.
php?vsep=137&gen=edition&l=1&p1=133) and critical report (http://dme.mozarteum.at/DME/nma/
nma_cont.php?vsep=138&l=1&p1=31) (German) in the Neue Mozart-Ausgabe
• Bassoon Concerto: Free scores at the International Music Score Library Project.
History
The piece was composed during the summer of 1919 at Elgar's secluded cottage "Brinkwells" near Fittleworth,
Sussex, where during previous years he had heard the sound of the artillery of World War I rumbling across the
Channel at night from France. In 1918, Elgar underwent an operation in London to have an infected tonsil removed,
a dangerous operation for a 61-year-old man. After regaining consciousness after sedation, he asked for pencil and
paper, and wrote down the melody that would become the first theme from the concerto. He and his wife soon retired
to the cottage in an attempt to recover from their health problems. In 1918, Elgar composed three chamber works,[1]
which his wife noted were already noticeably different from his previous compositions, and after their premieres in
the spring of 1919, he began realising his idea of a cello concerto.[2]
The concerto had a disastrous premiere, at the opening concert of the London Symphony Orchestra's 1919–20 season
on 27 October 1919. Apart from the concerto, which the composer conducted, the rest of the programme was
conducted by Albert Coates, who overran his rehearsal time at the expense of Elgar's. Lady Elgar wrote, "that brutal
selfish ill-mannered bounder ... that brute Coates went on rehearsing."[3] The critic of The Observer, Ernest
Newman, wrote, "There have been rumours about during the week of inadequate rehearsal. Whatever the
explanation, the sad fact remains that never, in all probability, has so great an orchestra made so lamentable an
exhibition of itself. ... The work itself is lovely stuff, very simple – that pregnant simplicity that has come upon
Elgar's music in the last couple of years – but with a profound wisdom and beauty underlying its simplicity."[4] Elgar
Cello Cello Concerto (Elgar) 84
attached no blame to his soloist, Felix Salmond, who played for him again later.[5] Elgar said that if it had not been
for Salmond's diligent work in preparing the piece, he would have withdrawn it from the concert entirely.[6]
In contrast with the First Symphony, which received a hundred performances worldwide in just over a year from its
premiere, the Cello Concerto did not have a second performance in London for more than a year.[7]
Music
This work is scored for Solo Cello, 2 Flutes, 2 Oboes, 2 Clarinets in A, 2 Bassoons, 4 Horns in F, 2 Trumpets in C, 3
Trombones, Tuba, Timpani, and strings.
The work has four movements:
1. Adagio — Moderato (approx. 8:00)
2. Lento — Allegro molto (approx. 4:30)
3. Adagio (approx. 4:50)
4. Allegro — Moderato — Allegro, ma non troppo — Poco più lento — Adagio. (approx. 11:30)
The piece represented, for Elgar, the angst, despair, and disillusionment he felt
after the end of the War, and an introspective look at death and mortality. It was
a significant change in his style, as he wrote much of his previous works in a
noble and jovial style, inspired by the English way of life and the pre-war
renaissance of European art.
The first movement is in ternary form with introduction. It opens with a recitative
in the solo cello, immediately followed by a short answer from the clarinets,
bassoons and horn. An ad lib modified scale played by the solo cello follows.
The viola section then presents a rendition of the main theme in Moderato, then
Fragment of the manuscript of the passes it to the solo cello who repeats it. The string section plays the theme a
opening of the second movement of
third time and then the solo cello modifies it into a fortissimo restatement. The
the concerto
orchestra reiterates, and the cello presents the theme a final time before moving
directly into a lyrical E major middle section. This transitions into a similar
repetition of the first section. This section omits the fortissimo modified theme in the solo cello. The slower first
movement moves directly into the second movement.
The second movement opens with a fast crescendo with pizzicate chords in the cello. Then, the solo cello plays what
will be the main motive of the Allegro molto section. Pizzicato chords follow. A brief cadenza is played, and
sixteenth-note motive and chords follow. Then a ritardando leads directly to a scherzo-like section which remains
until the end.
The slow third movement starts and ends with a lyrical melody, and one theme runs through the entire movement.
The end flows directly into the finale (again with no pause). The fourth movement begins with another fast
crescendo and ends at fortissimo. The solo cello follows with another recitative and cadenza. The movement's main
theme is noble and stately, but with undertones and with many key-changes. Near the end of the piece, the tempo
slows into a più lento section, in which a new set of themes appears. The tempo slows further, to the tempo of the
third movement, and the theme from that movement is restated. This tempo continues to slow until it becomes
stagnant, and the orchestra holds a chord. Then, at the very end of the piece, the recitative of the first movement is
played again. This flows into a reiteration of the main theme of the fourth movement, with tension building until the
final three chords, which close the piece.
Cello Cello Concerto (Elgar) 85
Recordings
Elgar and Beatrice Harrison made a truncated recording in 1920, using the acoustic recording process. The first
electrical complete recording (using a single carbon microphone) was made in 1928, by Harrison, Elgar and the
London Symphony Orchestra. A notable later recording was made by Jacqueline du Pré in 1965 with Sir John
Barbirolli and the London Symphony Orchestra for EMI. During a break in the recording session, the 20-year-old du
Pré left the studio, returning to find a large audience of local musicians and critics who had heard that a star was in
the making. On hearing her recording, Mstislav Rostropovich is said to have removed the work from his own
repertoire.[8] Du Pré's recording has been praised for its passion as well as a secure technique.[9] Barbirolli himself
had an association with the concerto from its first days: he was a member of the cello section of the orchestra at its
1919 premiere; and he was the soloist at one of its earliest performances, with the Bournemouth Municipal Orchestra
under Sir Dan Godfrey.[10]
The BBC Radio 3 feature "Building a Library" has presented comparative reviews of all available versions of the
concerto on three occasions. The Penguin Guide to Recorded Classical Music, 2008, has three pages of reviews of
the work. The only recording to receive the top recommendation of both the BBC and The Penguin Guide is du Pré's
1965 recording with the LSO and Barbirolli. Other recordings commended by both the BBC and The Penguin Guide
are by Beatrice Harrison (1928);[11] Steven Isserlis (1988);[12] Yo-Yo Ma (1985) and Truls Mørk (1999).[13] [14]
References
[1] The Violin Sonata in E minor, Op. 82; the String Quartet in E minor, Op. 83; and the Piano Quintet in A minor, Op. 84.
[2] Steinberg, M. The Concerto: A Listener's Guide, Oxford (1998) pp. 185–89.
[3] Lloyd-Webber, Julian, "How I fell in love with E E's darling", (http:/ / www. telegraph. co. uk/ culture/ music/ 3665153/
How-I-fell-in-love-with-E-Es-darling. html) The Daily Telegraph, 17 May 2007; and Anderson, Keith, Liner notes to Naxos CD 8.550503,
Dvořák and Elgar Cello Concertos (1992), p. 4
[4] Newman, Ernest, "Music of the Week", The Observer, 2 November 1919
[5] Reed, p. 131
[6] Stevenson, Joseph. "Felix Salmond: Biography" (http:/ / www. allmusic. com/ artist/ q50431/ biography). Allmusic. . Retrieved 2007-06-23.
[7] The Observer, 16 January 1921, p. 15
[8] Lebrecht, pp. 208–09
[9] See, e.g., March, p. 424
[10] Some sources state that Barbirolli gave the second performance of the concerto, but the original soloist, Felix Salmond, gave the work its
second performance, with the Hallé in Manchester on 20 March 1920, and Beatrice Harrison also played the solo part before Barbirolli did:
see Kennedy p. 40. Reviewing Barbirolli's 1921 performance, The Musical Times commented, "Signor Giovanni Barbirolli was not entirely
equal to the demands of the solo music, but his playing unquestionably gave a considerable amount of pleasure." See The Musical Times, 1
March 1921, p. 195
[11] Beatrice Harrison (http:/ / www. bbc. co. uk/ radio3/ building/ data2/ rev_218_602. shtml), Building a Library, BBC Radio 3, accessed 24
October 2010
[12] Steven Isserlis (http:/ / www. bbc. co. uk/ radio3/ building/ data2/ rev_218_603. shtml), Building a Library, BBC Radio 3, accessed 24
October 2010
[13] Yo-Yo Ma (http:/ / www. bbc. co. uk/ radio3/ building/ data2/ rev_1039_2492. shtml), Building a Library, BBC Radio 3, accessed 24
October 2010
[14] March, pp. 424–26
Cello Cello Concerto (Elgar) 86
References
• Kennedy, Michael. Barbirolli, Conductor Laureate: The Authorised Biography, MacGibbon and Key, London,
1971. ISBN 0-261-63336-8
• Lebrecht, Norman (2007). The Life and Death of Classical Music, New York: Anchor Books. ISBN
978-1-4000-9658-9
• March, Ivan (ed) (2007). The Penguin Guide to Recorded Classical Music 2008. London: Penguin Books. ISBN
978-0-141-03336-5
• Reed, W.H. (1946). Elgar. London: Dent. OCLC 8858707.
External links
• Guide to the Concerto from Elgar.org - includes a Musical Tour and a History (http://www.elgar.org/3cellcon.
htm)
• VIDEO: Elgar Cello Concerto third movement (http://www.youtube.com/watch?v=Q6UmdmmUqZk)
performed by Julian Lloyd Webber (http://www.julianlloydwebber.com/) and conducted by Yehudi Menuhin
• Elgar Cello Concerto (http://www.emiclassics.com/grocreleasedetails.php?rid=20916#) performed by
Jacqueline du Pré with Sir John Barbirolli
• Elgar Cello Concerto (http://www.natalieclein.com) performed by Natalie Clein with Vernon Handley
• Elgar Cello Concerto (http://www.youtube.com/watch?v=7HeMHbjUHVo) performed by Jian Wang (cellist)
• Cello Concerto: Free scores at the International Music Score Library Project.
• Cello Concerto in E minor, Op. 85 (1919) (http://www.bbc.co.uk/radio3/classical/elgar/notes/
note_celloconc.shtml)
• Discovering Music Elgar's Cello Concerto (http://www.bbc.co.uk/radio3/discoveringmusic/pip/80tke/)
Original version
Mozart originally wrote the work for basset clarinet, a special clarinet championed by Stadler that had a range down
to low (written) C, instead of stopping at (written) E as standard clarinets do.[1] As most clarinets could not play the
low notes which Mozart wrote to highlight this instrument, Mozart's publisher arranged a version of the concerto
with the low notes transposed to regular range, and did not publish the original version. This has proven a
problematic decision, as the autograph no longer exists, having been pawned by Stadler, and until the mid 20th
century musicologists did not know that the only version of the concerto written by Mozart's hand had not been
heard since Stadler's lifetime.[1] Once the problem was discovered, attempts were made to reconstruct the original
version, and new basset clarinets have been built for the specific purpose of performing Mozart's concerto and
clarinet quintet. There can no longer be any doubt that the concerto was composed for a clarinet with an extended
Clarinet Clarinet Concerto (Mozart) 87
range.[2] [3] In this context it is worth noting two other works written for Stadler and his instrument by composers
closely linked to the Mozart–Stadler circle that used the extended range of Stadler's instrument: the clarinet concerto
by Franz Xaver Süssmayr (famous for having completed Mozart's Requiem) and that by Joseph Leopold Eybler. In
recent years, the restored original version has been recorded by a number of different artists.
Premiere
The concerto was given its premiere by Stadler in Prague on October 16, 1791. Reception of his performance was
generally positive. The Berlin Musikalisches Wochenblatt noted in January 1792, "Herr Stadeler, a clarinettist from
Vienna. A man of great talent and recognised as such at court... His playing is brilliant and bears witness to his
assurance."[4] There was some disagreement on the value of Stadler's extension; some even faulted Mozart for
writing for the extended instrument.
Originally written as a sketch for basset horn, the movement opens with an orchestral statement of the main theme.
The theme is taken up by the soloist, and the music quickly takes on a more melancholy feel. At the end of this
section, the pauses in the solo part are occasionally taken as a point to perform an eingang (cadenza), although no
context is offered for a true cadenza.[4] The main theme reappears transposed, and leads to the novel feature of the
soloist accompanying the orchestra with an Alberti bass. Further development leads to dramatic turn, which, after a
tutti, leads back into the main theme. The Alberti bass and arpeggios for the soloist recur before the movement ends
in a relatively cheerful tutti in A major.
The second half of the double exposition of this movement (frequently called simply "the exposition" by clarinetists
since it is the only part they play) appears on almost every professional orchestral clarinet audition.
• Orchestral ritornello: bars 1–56
• Solo exposition: bars 57–154
• Ritornello: bars 154–171
• Development: bars 172–227
• Ritornello: bars 227–250
• Recapitulation: bars 251–343
• Ritornello: bars 343–359[4]
The second movement, marked Adagio, is written in ternary form (i.e. ABA). (It was popularized by the film Out of
Africa.) It opens with the soloist playing the movement's primary theme with orchestral repetition. The development,
in which the solo part is always prominent, exploits both the chalumeau and clarion registers, while the restatement
of the opening culminates in a cadenza.
Clarinet Clarinet Concerto (Mozart) 88
The closing rondo has a cheerful refrain, with episodes either echoing this mood or recalling the darker colours of
the first movement. It is a blend of sonata and rondo forms that Mozart developed in his piano concertos, most
noticeably the A major Piano Concerto, K. 488.[5]
The opening refrain (bars 1–56) features the soloist in dialogue with the orchestra, much more so than in his piano
concertos. In many ways, this is a dialogue of one-upmanship—the more definitive the statement made by the
orchestra, the more virtuosic the response by the clarinet.[4]
The first episode (bars 57–113) features chromaticism and dramatic lines custom-written for the basset clarinet with
its low extension. The refrain (114–137) is heard again in a slightly simpler manner, and the music modulates to F♯
minor.
The second episode (bars 137–187) contains "one of the most dramatic showcases for the basset clarinet in the entire
concerto, featuring spectacular leaps, together with dialog between soprano and baritone registers."[4] After this
episode there is no refrain.
The third episode (bars 188–246) is a recapitulation of the first, but instead of a simple restatement, it modulates four
times. This allows the soloist frequent opportunities to display chromatic figurations, and the composer to
demonstrate his creativity in the reworking of the material.[4]
The refrain (bars 247–301) is heard for the final time, exactly as presented in the opening, before proceeding to the
coda (bars 301–353). Here the rondo theme is developed dramatically, using the full range of the clarinet. Mozart
uses leaps, trills, and figurations. In the end, the more cheerful mood returns, and the concerto ends with a tutti
untouched by the melancholy seen elsewhere in the work.
References
[1] Hacker, Alan (April 1969). "Mozart and the Basset Clarinet". The Musical Times (Musical Times Publications Ltd.) 110 (1514): 359–362.
doi:10.2307/951470. JSTOR 951470.
[2] Ness, Arthur (1963). The Original Text of Mozart's Clarinet Concerto. Cambridge, MA: Master's thesis, Harvard University.
[3] Adelson, Rob (Fall 1997). "Reading between the (Ledger) Lines: Performing Mozart's Music for the Basset Clarinet" (http:/ / ccdl. libraries.
claremont. edu/ u?/ ppr,168). Performance Practice Review 10 (2): 152–191. . Retrieved 2007-01-25.
[4] Lawson, Colin (1996). Mozart: Clarinet Concerto. Cambridge, England: Cambridge University Press. ISBN 978-0-521-47929-5.
[5] Rosen, Charles (1997). The Classical Style: Haydn, Mozart, Beethoven (http:/ / books. google. com/ ?id=vGdcINvz9n4C&
dq=isbn=0393040208). New York: W. W. Norton. ISBN 0-393-04020-8. OCLC 35095841. . Retrieved 2008-01-13.
External links
• Konzert in A für Klarinette und Orchester KV 622: Score (http://dme.mozarteum.at/DME/nma/nma_cont.
php?vsep=139&gen=edition&l=1&p1=3) and critical report (http://dme.mozarteum.at/DME/nma/
nma_cont.php?vsep=140&l=1&p1=4) (German) in the Neue Mozart-Ausgabe
• BBC Discovering Music (http://www.bbc.co.uk/radio3/discoveringmusic/pip/iyzdt/)
• Clarinet Concerto: Free scores at the International Music Score Library Project.
Double Double Concerto (Brahms) 89
Structure
The composition consists of three movements in the fast-slow-fast pattern typical of classical instrumental concertos:
1. Allegro (A minor)
2. Andante (D major)
3. Vivace non troppo (A minor → A major)
Scholarly discussion
Richard Cohn has included the first movement of this concerto in his detailed discussion of various composers' use
of triadic progressions.[9] Cohn has also analysed such progressions mathematically.[10]
Discography
• Jacques Thibaud and Pablo Casals, Pau Casals Orchestra Barcelona cond. Alfred Cortot (1929).[11]
• Jascha Heifetz and Emanuel Feuermann, Philadelphia Orchestra cond. Eugene Ormandy (1939).[12]
• Adolf Busch and Herman Busch, French National Radio Orchestra cond. Paul Kletzki (live Strasbourg 1949).[13]
• Georg Kulenkampff and Enrico Mainardi, Orchestre de la Suisse Romande cond. Carl Schuricht (1947).[14]
• Nathan Milstein and Gregor Piatigorsky, Philadelphia Robin Hood Dell Orchestra cond. Fritz Reiner (1951).[15]
• Jascha Heifetz and Gregor Piatigorsky, RCA Victor Symphony Orchestra cond. Alfred Wallenstein.[16]
• Gioconda de Vito and Amadeo Baldovino,[17] Philharmonia Orchestra cond. Rudolf Schwarz (1952).[18]
• Jean Fournier and Antonio Janigro,[19] Vienna State Opera Orchestra cond. Hermann Scherchen.[20]
• Alfredo Campoli and André Navarra, Hallé Orchestra cond. John Barbirolli.[21]
Double Double Concerto (Brahms) 90
• Josef Suk and André Navarra, Czech Philharmonic Orchestra cond. Karel Ančerl (c.1963).[22]
• Willi Boskovsky and Emanuel Brabec,[23] Vienna Philharmonic Orchestra cond. Wilhelm Furtwängler (1950 live
recording).[24]
• Wolfgang Schneiderhan and Enrico Mainardi,[25] Vienna Philharmonic Orchestra cond. Karl Böhm.[26]
• Wolfgang Schneiderhan and János Starker, Orchestra of Radio-Symphonie Berlin cond. Ferenc Fricsay.[27]
• Henryk Szeryng and János Starker, Royal Concertgebouw Orchestra cond. Bernard Haitink.[28]
• Emmy Verhey and János Starker, Amsterdam Philharmonic Orchestra cond. Arpad Joó.[29]
• Isaac Stern and Leonard Rose, Philharmonic Symphony Orchestra of New York cond. Bruno Walter.[30]
• Isaac Stern and Yo-Yo Ma, Chicago Symphony Orchestra cond. Claudio Abbado.[31]
• Isaac Stern and Yo-Yo Ma, New York Philharmonic Orchestra cond. Zubin Mehta
• Gidon Kremer and Mischa Maisky, Vienna Philharmonic Orchestra cond. Leonard Bernstein.[32]
• David Oistrakh and Pierre Fournier, Philharmonia Orchestra cond. Alceo Galliera.[33]
• David Oistrakh and Mstislav Rostropovich, Cleveland Orchestra cond. George Szell.[34]
• David Oistrakh and Mstislav Rostropovich, Moscow Philharmonic Orchestra cond. Kirill Kondrashin (live
1963).[35]
• Salvatore Accardo and Siegfried Palm,[36] Orchestra Sinfonica di Roma della RTV Italiana cond Bruno Maderna
(live 1961 Milan).[37]
• Zino Francescatti and Samuel H. Mayes,[38] Boston Symphony Orchestra cond. Charles Munch (live rec. April
1956)[39]
• Zino Francescatti and Pierre Fournier, Columbia Symphony Orchestra cond. Bruno Walter.[40]
• Zino Francescatti and Pierre Fournier, BBC Symphony Orchestra cond. Colin Davis.[41]
• Christian Ferras and Paul Tortelier, Philharmonia Orchestra cond. Paul Kletzki.[42]
• Yehudi Menuhin and Paul Tortelier, London Philharmonic Orchestra cond. Paavo Berglund (1984).[43]
• Yehudi Menuhin and Maurice Gendron, London Symphony Orchestra cond. Istvan Kertesz (Bath Festival
1964).[44]
• Yehudi Menuhin and Leslie Parnas,[45] Casals Festival Orchestra cond. Pablo Casals (1969).[46]
• Yan Pascal Tortelier and Paul Tortelier, BBC Symphony Orchestra cond. John Pritchard (1974).[47]
• Itzhak Perlman and Yo-Yo Ma, Chicago Symphony Orchestra cond. Daniel Barenboim.[48]
• Vadim Repin and Truls Mørk, Leipzig Gewandhaus Orchestra cond. Riccardo Chailly.[49]
• Gil Shaham and Jian Wang, Berliner Philharmoniker cond. Claudio Abbado.[50]
References
[1] Cheltenham Symphony Orchestra: program notes (http:/ / www. cheltenhamsymphonyorchestra. info/ prognotes. htm)
[2] He disguised his reservations with joyless joking in his letter to Clara Schumann: "...I have had the amusing idea of writing a concerto for
violin and cello. If it is at all successful it might give us some fun. You can well imagine the sort of pranks one might play in such a case," he
wrote, adding "I ought to have handed on the idea to some who knows the violin better than I do." Litzmann, Schumann/Brahms Letters
8/1887, quoted by Jan Swafford, Johannes Brahms: a biography 1997:539.
[3] For Hausmann he had written the Second Cello Sonata the previous summer.
[4] "This concerto is a work of reconciliation— Joachim and Brahms have spoken to each other again for the first time in years", Clara
Schumann noted in her journal after a rehearsal in Baden-Baden in September 1887.
[5] Schwartz, Boris (Autumn 1983). "Joseph Joachim and the Genesis of Brahms's Violin Concerto" (http:/ / mq. oxfordjournals. org/ cgi/ reprint/
LXIX/ 4/ 503). The Musical Quarterly LXIX (4): 503–526. doi:10.1093/mq/LXIX.4.503. . Retrieved 2008-03-16.
[6] Musgrave, Michael (July 1983). "Brahms's First Symphony: Thematic Coherence and Its Secret Origin". Music Analysis (Music Analysis,
Vol. 2, No. 2) 2 (2): 117–133. doi:10.2307/854245. ISSN 0262-5245. JSTOR 854245.
[7] Wollenberg, Susan (February 1993). "Reviews of Books: Beiträge zur Geschichte des Konzerts: Festschrift Siegfried Kross zum 60.
Geburtstag (eds. Reinmar Emans and Matthias Wendt". Music & Letters 74 (1): 77–81. doi:10.1093/ml/74.1.77. ISSN 0027-4224.
JSTOR 735204.
[8] Stein, George P. (October 1971). "The Arts: Being through Meaning". Journal of Aesthetic Education (Journal of Aesthetic Education, Vol. 5,
No. 4) 5 (4): 99–113. doi:10.2307/3331623. ISSN 0021-8510. JSTOR 3331623.
[9] Cohn, Richard (March 1996). "Maximally Smooth Cycles, Hexatonic Systems, and the Analysis of Late-Romantic Triadic Progressions".
Music Analysis (Music Analysis, Vol. 15, No. 1) 15 (1): 9–40. doi:10.2307/854168. ISSN 0262-5245. JSTOR 854168.
Double Double Concerto (Brahms) 91
[10] Cohn, Richard (Spring 1997). "Neo-Riemannian Operations, Parsimonious Trichords, and Their Tonnetz Representations". Journal of
Musical Theory (Journal of Music Theory, Vol. 41, No. 1) 41 (1): 1–66. doi:10.2307/843761. ISSN 0022-2909. JSTOR 843761.
[11] HMV DB1311-1314/Victor V-8208-8211.
[12] HMV/Victor 78rpm:Naxos CD
[13] Music and Arts MACD 108
[14] Decca 78rpm AK2025-2028: Archipel CD ARPCD 0301
[15] Naxos CD 8.111051
[16] RCA LD(S)2513
[17] Student of Camillo Oblach's at the G.B. Martini School of Music, Bologna, Baldovino was cellist with the Trio Italiano d'Archi and the Trio
di Trieste: see (http:/ / www. answers. com/ topic/ amadeo-baldovino) here.
[18] HMV BLP 1028
[19] Fournier and Janigro played together with Paul Badura-Skoda in a trio ensemble.
[20] Westminster LP WLP 5117.
[21] (Pye Golden Guinea GGC 4009).
[22] Supraphon LP SUA ST 50573.
[23] Cellist of the Barylli Quartet, Brabec was teacher of Nikolaus Harnoncourt at Vienna.
[24] Dynamic IDIS Hist. CD IDI 6554
[25] Schneiderhan succeeded Georg Kulenkampff as violin in the trio ensemble with Mainardi and Edwin Fischer after Kulenkampff died.
[26] Orfeo CD C 359941B
[27] CD DG 4775341
[28] Australian Eloquence CD 4643092
[29] Brilliant classics CD 93249
[30] Philips LP ABL 3139/3289.
[31] CBS Masterworks Mk 42387
[32] DGG DVD 000983409
[33] HMV/EMI SXLP 30185
[34] HMV ASD 3312
[35] BBC CD L41972
[36] Palm was a pupil of Mainardi's, and a President of the European String Teachers' Association: see interview (http:/ / www. cello. org/
Newsletter/ Articles/ palm. htm) here.
[37] Movimento Musica srl Milano (WEA Italiana) 01.017 33/30 DP
[38] Samuel H. Mayes (http:/ / www. cello. org/ heaven/ bios/ mayes. htm)
[39] Music and Arts, West Hill Radio Archive WHRA 6017
[40] CBS LP SBRG 72087
[41] BBC CD L41492
[42] Testament CD SBT 1337
[43] EMI EG 27 0268 1
[44] BBC CD L4252 2
[45] Leslie Parnas (http:/ / www. answers. com/ topic/ leslie-parnas)
[46] Doremi CD DHR 7844
[47] BBC CD L42362
[48] Warner Classics CD Maestro 2564673668
[49] CD DG 4777470
[50] CD DG 4695292
External links
• History of the Double Concerto (http://w3.rz-berlin.mpg.de/cmp/brahms_double_con.html)
• Adaptation of the work as a Cello Concerto (http://www.sikorski.de/3041/en/a_cello_concerto_by_brahms.
html)
• Andrews University Symphony Orchestra, November 13, 1999 notes (http://www.andrews.edu/~mack/pnotes/
nov1399.html,)
• Double Concerto: Free scores at the International Music Score Library Project.
• Copyist's manuscript with composer's annotations (http://www.juilliardmanuscriptcollection.org/composers.
php#/works/BRAH) at The Juilliard Manuscript Collection
Flute Flute Concerto (Simpson) 92
Form
The work is in one movement with a running time of approximately twenty-five minutes. The orchestra used by
Simpson is a small one, with seven woodwind players, two horns, timpani and strings. The work can broadly be
divided into three distinct parts [1] :
1. Allegretto
In a 6/8 meter, the work begins with a phrase from muted first violins that forms the basis of the entire work. The
shape given out by the sequence of intervals present in A - B - C♯ - D♯ - D - D♯ - B - C - D is developed throughout
the entire one movement structure. The flute enters several bars later with a variation on this phrase with light
accompaniment from the orchestra, often consisting of just a single line with the dynamic level remaining at
pianissimo for a considerable period of time. After several minutes a climax is reached, leading into a brief
secondary part of the Allegretto where the tempo remains the same but the meter is changed to common time.
Gradually the music becomes more agitated before breaking away into the following section, Allegro non troppo.
3. Adagio
The strings introduce the Adagio, its mood contemplative and introspective (reminiscent of some of the slow string
writing in Simpson's Ninth Symphony and later string quartets). The flute and woodwinds take over this theme in
turn. After a passage accompanied by divided cellos, the work reaches its final, extended climax as the flautist is
instructed to sit with the string soloists for the very final part of the piece where the conductor is required to sit out.
The last five minutes are essentially chamber music - the flute and string soloists forming a quintet, closing
peacefully.
Notes
[1] Robert Simpson Flute Concerto - Full score, published by Rosehill Music
Harmonica Concerto for Harmonica and Orchestra (Arnold) 93
Sources
• The World Guide to Musical Instruments, Max Wade-Matthews, Anness Publishing Ltd., 2001
• Official Malcolm Arnold Website [1]
References
[1] http:/ / www. malcolmarnold. co. uk/
Compositional history
From 1729 to 1741, Bach was director of the Collegium musicum in Leipzig, a student musical society, founded by
Georg Philipp Telemann in 1703 and run before Bach by Balthasar Schott. The Collegium musicum often gave
performances at Zimmermann's coffee-house. It was for these occasions that Bach produced his harpsichord
concertos, among the first concertos for keyboard instrument ever written. It is thought that the multiple harpsichord
concertos were heard earlier than those for one harpsichord, perhaps because his sons C. P. E. Bach and W. F. Bach
(both excellent harpsichord players) were living at home until 1733 and 1734, respectively. It is likely that Johann
Ludwig Krebs, who studied with Bach until 1735, also played harpsichord in the Collegium musicum.
The concertos for one harpsichord, BWV 1052-1059, survive in an autograph score (now in the Staatsbibliothek
Berlin, Mus. ms. Bach P 234) which is not a fair copy but a draft, or working score, and has been dated to about
Harpsichord Harpsichord concertos (Bach) 94
1738. Bach may of course have played the works much earlier, using the parts from an original melody-instrument
concerto and extemporising a suitable harpsichord version while playing.
The works BWV 1052-1057 were intended as a set of six, shown in the manuscript in Bach's traditional manner
beginning with 'J.J.' (Jesu Juva) and ending with 'Finis. S. D. Gl.' (Soli Deo Gloria). Aside from the Brandenburg
concertos, it is the only such collection of concertos in Bach's oeuvre. The concerto BWV 1058 and fragment BWV
1059 are contained at the end of the score, and are an earlier attempt at a set of (headed J.J.) which was abandoned
for one reason or another.
Bach's harpsichord concertos were, until recently, often underestimated by scholars, who did not have the
convenience of hearing the benefits that historically informed performance has brought to works such as these: for
instance Albert Schweitzer wrote 'The transcriptions have often been prepared with almost unbelievable cursoriness
and carelessness. Either time was pressing or he was bored by the matter.' Recent research has demonstrated quite
the reverse to be true; he transferred solo parts to the harpsichord with typical skill and variety. Bach's interest in the
harpsichord concerto form can be inferred from the fact that he arranged every suitable melody-instrument concerto
as a harpsichord concerto, and while the harpsichord versions have been preserved the same is not true of the
melody-instrument versions.
historically informed performance from the 1960s, it is now regularly played on the harpsichord again.
There also exists a version of this harpsichord concerto transcribed by C. P. E. Bach in 1733 or 1734, listed as BWV
1052a; it is not executed particularly well but shows that the process was studied in Bach's household.
Notes
[1] Oxford Composer Companions guide to Bach (ed. Boyd)
[2] Bach: The Concertos for 3 and 4 Harpsichords - Trevor Pinnock and the English Concert, from the CD booklet written by Dr. Werner Brieg,
1981, Archive Produktion (bar code 3-259140-004127)
References
• Werner Breig, Bach: Concertos for Harpsichord, ISMN: M-006-20451-9 (1999, Bärenreiter)
• Werner Breig, notes to recordings of the complete harpsichord concertos by Trevor Pinnock and The English
Concert (1981, Archiv Produktion); lengths also taken from these recordings
External links
• Harpsichord Concerto No.1, BWV 1052: Free scores at the International Music Score Library Project.
• Harpsichord Concerto No.2, BWV 1053: Free scores at the International Music Score Library Project.
• Harpsichord Concerto No.3, BWV 1054: Free scores at the International Music Score Library Project.
• Harpsichord Concerto No.4, BWV 1055: Free scores at the International Music Score Library Project.
• Harpsichord Concerto No.5, BWV 1056: Free scores at the International Music Score Library Project.
• Harpsichord Concerto No.6, BWV 1057: Free scores at the International Music Score Library Project.
• Harpsichord Concerto No.7, BWV 1058: Free scores at the International Music Score Library Project.
• Harpsichord Concerto No.8, BWV 1059: Free scores at the International Music Score Library Project.
Harpsichord Harpsichord concertos (Bach) 100
• Concerto for Flute, Violin and Harpsichord, BWV 1044: Free scores at the International Music Score Library
Project.
• Concerto for 2 Harpsichords, BWV 1060: Free scores at the International Music Score Library Project.
• Concerto for 2 Harpsichords, BWV 1061: Free scores at the International Music Score Library Project.
• Concerto for 2 Harpsichords, BWV 1062: Free scores at the International Music Score Library Project.
• Concerto for 3 Harpsichords, BWV 1063: Free scores at the International Music Score Library Project.
• Concerto for 3 Harpsichords, BWV 1064: Free scores at the International Music Score Library Project.
• Concerto for 4 Harpsichords, BWV 1065: Free scores at the International Music Score Library Project.
• Program notes (http://www.laco.org/performances/127/?program=1) from the Los Angeles Chamber
Orchestra
Movements
As with his Flute Concerto No. 1, the piece is arranged for a standard set of orchestral strings, two oboes, and two
horns.[3]
The piece itself is divided into three movements:
• I. Allegro aperto
• II. Adagio non troppo
• III. Rondo: Allegretto
Origin
While the original version for oboe had been lost before Alfred Einstein wrote Mozart: His Character, His Work, the
oboe origin of the flute concerto was suspected then, in part because of references in letters to a now-missing oboe
concerto, as Einstein wrote, and of similar details in the orchestral string lines which suggested a transposition was
used. Also, Einstein noted the two scores in D Major and C Major of the K. 314 Concerto in the Library of the
Gesellschaft der Musikfreunde in Vienna, which led to the belief that the oboe concerto was the origin of the flute
concerto.[2] The orchestra parts of the composition and solo oboe part in C were rediscovered by Bernhard
Paumgartner in Salzburg, in 1920.[1]
Oboe Oboe Concerto (Mozart) 101
References
[1] Mozart, W. A.; Giegling, Franz (foreword) (2003). Konzert in C für Oboe und Orchester. Klavierauszug. Kassel: Bärenreiter-Verlag. p. IV.
ISMN M-00645740-3
[2] Riordan, George. The History of the Mozart Concerto K. 314 (http:/ / idrs. colorado. edu/ Publications/ Journal/ JNL23/ 5_K314. pdf).
International Double Reed Society & University of Colorado, College of Music.
[3] Flute Concerto No. 2 in D major, K. 314 (K. 285d) (http:/ / www. answers. com/ topic/ flute-concerto-no-2-in-d-major-k-314-k-285d).
Allmusic.
[4] Freed, Richard. Flute Concerto No. 2 in D major, K. 314 (http:/ / www. kennedy-center. org/ calendar/ index. cfm?fuseaction=composition&
composition_id=3221). John F. Kennedy Center for the Performing Arts. October 5–7, 2006
External links
• Oboe Concerto in C KV 314 (285d): Score (http://dme.mozarteum.at/DME/nma/nma_cont.php?vsep=137&
gen=edition&l=1&p1=97) and critical report (http://dme.mozarteum.at/DME/nma/nma_cont.
php?vsep=138&l=1&p1=7) (German) in the Neue Mozart-Ausgabe
• Flute Concerto No. 2 in D KV 314 (285d): Score (http://dme.mozarteum.at/DME/nma/nma_cont.
php?vsep=137&gen=edition&l=1&p1=53) and critical report (http://dme.mozarteum.at/DME/nma/
nma_cont.php?vsep=138&l=1&p1=20) (German) in the Neue Mozart-Ausgabe
• Performance of Flute Concerto by the Gardner Chamber Orchestra with soloist [[Paula Robison (http://traffic.
libsyn.com/gardnermuseum/mozart_k314.mp3)]] from the Isabella Stewart Gardner Museum in MP3 format
Composition
The work was written in response to a commission from the Koussevitzky Foundation (run by the conductor Serge
Koussevitzky) following Bartók's move to the United States from his native Hungary, which he had fled because of
World War II. It has been speculated that Bartók's previous work, the String Quartet No. 6 (1939), could well have
been his last were it not for this commission, which sparked a small number of other compositions, including his
Sonata for Solo Violin and Piano Concerto No. 3.[1] Bartók revised the piece in February 1945, the biggest change
coming in the last movement, where he wrote a longer ending. Both versions of the ending were published, and both
versions are performed today.
Orchestra Concerto for Orchestra (Bartók) 102
Musical analysis
Bartók makes extensive use of classical
elements in the work;[1] for instance, the
first and fifth movements are in
sonata-allegro form. The work combines
elements of Western art music and eastern
European folk music, especially that of
Hungary, and it departs from traditional
tonality, often using non-traditional modes
and artificial scales.[1] Bartók researched
folk melodies, and their influence is felt
throughout the work; for example, the
second main theme of the first movement, as
played by the 1st oboe, resembles a folk
melody, with its narrow range and almost
haphazard rhythm. The drone in the horns
and strings also indicates folk influence (see
example).[1]
movement of the Concerto for Orchestra. The printed score gives crotchet equals 74, which is extremely
slow, but I thought that I must follow what it says. When we rehearsed I could see that the musicians
didn't like it at all and in the break the side drum player (who starts the movement with a solo) came to
me and said "Maestro, my part is marked crotchet equals 94", which I thought must be a mistake, since
none of the other parts have a tempo marking. The only way to check was to locate the manuscript and
through the courtesy of the Library of Congress in Washington we obtained a copy of the relevant page,
which not only clearly showed crotchet equals 94, but a tempo marking of "Allegro scherzando" (the
printed score gives "Allegretto scherzando"). Furthermore Bartók headed it "Presentando le coppie"
(Presentation of the couples), not "Giuoco delle coppie" (Game of the couples). I was most excited by
this, because it becomes a quite different piece. The programme of the first performance in Boston
clearly has the movement marked "Allegro scherzando" and the keeper of the Bartók archives was able
to give us further conclusive evidence that the faster tempo must be correct. I have no doubt that
thousands of performances, including my own up to now, have been given at the wrong speed![5]
V. Finale. Presto
The fifth movement, called Finale by Bartók and marked presto, consists of a whirling perpetuum mobile main
theme competing with fugato fireworks and folk melodies. This is also written in sonata allegro form.[2]
References
[1] Cooper, David (1996). Bartók: Concerto for Orchestra. Cambridge: Cambridge University Press. ISBN 0521485053.
[2] Bartók, Béla. "Explanation to Concerto for Orchestra," for the Boston premiere at Symphony Hall.
[3] Bartók, Béla (2004). Concerto for Orchestra (Score). New York: Boosey & Hawkes. ISBN 0851621899.
[4] Peter Bartók, "Preface to the Revised Edition, 1993", in Béla Bartók, Concerto for Orchestra: Full Score, revised edition, [iii–v] (London,
New York, Bonn, Sydney, Tokyo: Boosey & Hawkes, 1993). The citation is on p. [iv].
[5] Sir Georg Solti, Liner notes from London LP LDR 71036, Bartók Concerto for Orchestra and Dance Suite, Chicago Symphony Orchestra,
recorded January 1980.
[6] Griffiths, Paul (February 22, 1999). "A Peacetime Hearing of the Shostakovich 'Leningrad,' Forged in War" (http:/ / www. nytimes. com/
1999/ 02/ 22/ arts/ music-review-a-peacetime-hearing-of-the-shostakovich-leningrad-forged-in-war. html). The New York Times. . Retrieved
30 March 2010.
External links
• Concerto for Orchestra: Free scores at the International Music Score Library Project.
Organ Organ Concerto (Poulenc) 104
History of composition
The organ concerto was commissioned by Princess Edmond de Polignac[2] in 1934, as a piece with a chamber
orchestra accompaniment and an easy organ part that the princess could probably play herself. The commission was
originally given to Jean Françaix, who declined, but Poulenc accepted. Poulenc quickly abandoned this idea for
something much more grandiose and ambitious; his earlier harpsichord concerto and double-piano concerto were
simpler, more light-hearted pieces. As he wrote in a letter to Françaix, "The concerto...is not the amusing Poulenc of
the Concerto for two pianos, but more like a Poulenc en route for the cloister."[1] The death of a colleague and friend,
the young critic and composer Pierre-Octave Ferroud, in the spring of 1936 made Poulenc go on a pilgrimage to the
Black Virgin of Rocamadour, where he rediscovered his Christian faith. This new religious conviction not only
nurtured an interest in religious music, which he began to compose, but also highly influenced his incomplete Organ
Concerto.[3] Indeed, Poulenc referred to it as being on the fringe of his religious works.[1] Poulenc himself had never
actually composed for the organ before, and so he studied great baroque masterpieces for the instrument by Johann
Sebastian Bach and Dieterich Buxtehude; the work's neo-baroque feel reflects this. Poulenc was also advised about
the instrument's registration and other aspects by the organist Maurice Duruflé.[2] Duruflé was also the soloist in the
private premiere of the work on 16 December 1938, with Nadia Boulanger conducting, at Princess Edmond's salon.
The first public performance was in June 1939 at the Salle Gaveau in Paris, with Duruflé once again the soloist and
Roger Désormière conducting.[1]
Instrumentation
As the full title of the piece denotes, the piece is scored for a solo organ, timpani and a string orchestra. The piece
uses such comparatively small forces, relative to Poulenc's other concertos (the Concert champêtre used a full
orchestra as accompaniment),[4] so that the piece could be played in a quite small space with an organ, such as
Princess Edmond's salon, that were quite popular in France at the time. The piece would have been premiered on a
Cavaillé-Coll instrument, as the company supplied many organs to private contractors, one of whom was the de
Polignac.[1]
Analysis
The piece is just over 20 minutes in duration[3] and consists of a single continuous movement with seven tempo
marks. Respectively, these are: Andante, Allegro giocoso, Subito andante moderato, Tempo allegro. Molto agitatio,
Très calme: Lent, Tempo de l'allegro initial and Tempo d'introduction: Largo.[2] Each movement often differs
substantially in style, tone and texture. For example, the opening movements are loud and quite violent, with
substantial organ chords; yet the following middle movements are much calmer, softer and more emotional.
Organ Organ Concerto (Poulenc) 105
Recordings
Organist Conductor Record Label Record Release Date
References
[1] (http:/ / www. spinningdogrecords. com/ ndckd180. html)
[2] (http:/ / www. classicalarchives. com/ work/ 110480. html#tvf=tracks& tv=about)
[3] Apex Records Publication 8573 892442
[4] (http:/ / www. classicalarchives. com/ work/ 110488. html#tvf=all& tv=about)
Background
At its 1897 premiere, Rachmaninoff's first symphony, though now
considered a significant achievement, was derided by contemporary
critics.[5] Compounded by problems in his personal life, Rachmaninoff
fell into a depression that lasted for several years. His second piano
concerto confirmed his recovery from clinical depression and writer's
block. The concerto was dedicated to Nikolai Dahl, a physician who
had done much to restore Rachmaninoff's self-confidence.[5]
Composition
The work is scored for 2 flutes, 2 oboes, 2 clarinets in B♭ (I mov.) and
A (II & III mov.), 2 bassoons, 4 horns in F, 2 trumpets in B♭, 3
trombones (2 tenor, 1 bass), tuba, timpani, bass drum, cymbals, solo
piano, and strings. It is written in three-movement concerto form.
Moderato: C minor
The opening movement begins with a series
of bell-like tollings on the piano that build
tension, eventually climaxing in the
introduction of the main theme. In this first
section, the orchestra carries the
Russian-character melody while the piano First eight bars of the concerto
makes an accompaniment made of
arpeggios riddled with half steps. After the
statement of the long first theme, a quicker
transition follows until the more lyrical
second theme, in E flat major, is presented.
Derivative works
The Moderato provides the basis for Frank Sinatra's "I Think of You" and "Ever and Forever".[6] Muse's "Space
Dementia", "Butterflies and Hurricanes", "Megalomania", "Ruled by Secrecy" and "Neutron Star Collision (Love Is
Forever)" all contain references to this movement.
The Adagio sostenuto theme appears in Eric Carmen's 1975 ballad "All by Myself". Carmen first composed the
song's interlude, then took the verse from Rachmaninoff and the chorus from his own "Let's Pretend". Carmen
explained that Rachmaninoff was his "favorite music".[7] This movement also provides the basis for Amici Forever's
"Nostalgia" from the album Defined. The opening chords of Adagio sostenuto also appears in the orchestrated
version of Aria di Mezzo Carattere from Final Fantasy VI.
The Allegro scherzando provides the basis for Frank Sinatra's 1945 "Full Moon and Empty Arms"[6] and The
Gospellers's "Sky High," which was also the opening theme for hit anime Nodame Cantabile Paris Hen Arc.
In film
• The concerto is significantly featured in David Lean's 1945 film Brief Encounter
• Billy Wilder's 1955 film The Seven Year Itch
• More recently, it was featured prominently in Clint Eastwood's 2010 film Hereafter
• Concerto was featured briefly in a 1956 Soviet film Spring on a Street Across the River (Весна на Заречной
улице) in a radio broadcast performed by Lev Oborin.[8]
• The concerto is significantly featured in both the Japanese anime (2007) and award-winning TV versions (2008)
of Nodame Cantabile
Piano Piano Concerto No. 2 (Rachmaninoff) 108
Notes
[1] Harrison, Max (2006). Rachmaninoff: Life, Works, Recordings. London: Continuum. pp. 92–99. ISBN 0-8264-9312-2.
[2] "Rachmaninoff's Works for Piano and Orchestra" (http:/ / classyclassical. blogspot. com/ 2005/ 09/ rachmaninoffs-works-for-piano-and.
html). Classy Classical. . Retrieved February 27, 2011.
[3] "Brief Encounter theme is UK's top classic" (http:/ / www. guardian. co. uk/ uk/ 2005/ mar/ 29/ arts. artsnews1). The Guardian. March 29,
2005. . Retrieved February 27, 2011.
[4] Norris, Geoffrey (1993). The Master Musicians: Rachmaninoff (http:/ / books. google. com/ books?id=aPc2AAAACAAJ). New York City:
Schirmer Books. pp. 113–115. ISBN 0-02-870685-4. .
[5] Steinberg, Michael (1998). The Concerto. Oxford University Press. p. 357–358. ISBN 0-19-513931-3.
[6] "Full Moon and Empty Arms" (http:/ / www. time. com/ time/ magazine/ article/ 0,9171,798001,00. html). Time. 23 June 1947. .
[7] "An Interview with Eric Carmen Conducted by Gordon Pogoda in 1991" (http:/ / www. ericcarmen. com/ eric/ interviews. htm),
ericcarmen.com, , retrieved 21 September 2010
[8] http:/ / www. kino-teatr. ru/ kino/ movie/ sov/ 909/ annot/
References
• Schirmer, G (1996). Tchaikovsky's Piano Concerto No. 1; Rachmaninoff's Piano Concerto No. 2 (Orchestra
reduction for second piano). Mineola, New York: Dover Publications. pp. 101–163. ISBN 0-486-29114-6.
• Yungkans, Jonathan (2001-03-14). "The Second Piano Concerto" (http://inkpot.com/classical/rachpfc2.html).
The Flying Inkpot. Retrieved 2007-10-15.
• Kuenning, Geoff (2000). "Rachmaninoff: Piano Concerto No. 2 in C Minor" (http://www.lasr.cs.ucla.edu/
geoff/prognotes/rachmaninoff/pianoCon2.html). Symphony of the Canyons. Retrieved 2007-10-15.
Further reading
• Anderson, W. R. (1947), Rachmaninov and his pianoforte concertos: A brief sketch of the composer and his style,
London: Hinrichsen Edition Limited, pp. 9–14
• Chung, So-Ham Kim (1988) (Dissertation), An analysis of Rachmaninoff's Concerto No. 2 in C Minor opus 18:
Aids towards performance (http://rave.ohiolink.edu/etdc/view?acc_num=osu1235232062), The Ohio State
University, retrieved 4 August 2010
• Coolidge, Richard (August 1979), "Architectonic Technique and Innovation in the Rakhmaninov Piano
Concertos", The Music Review 40 (3): 188–193
• Culshaw, John (1950), Rachmaninov: The Man and His Music, New York: Oxford University Press, pp. 78–84
• Evans, Edwin, ed. (1942), Serge Rachmaninoff's Piano Concerto No. 2, Opus 18: Analysis, New York: Boosey &
Hawkes
• Slenczynska, Ruth (October 1973), "The Performer's Corner: The Opening of the Rachmaninoff Second
Concerto", Clavier 12 (7): 18
• Tsukkerman, Viktor (1965), "Zhemchuzhina Russkoy Liriki (Pearls of Russian Lyricism)" (in Russian),
Sovetskaya Muzika (1): 25–35
• Veinus, Abraham (1945), The Concerto, Garden City, New York: Doubleday, Doran and Company, Inc., p. 248
External links
• Piano Concerto No. 2: Free scores at the International Music Score Library Project.
Sinfonia Sinfonia Concertante for Violin, Viola and Orchestra (Mozart) 109
Instrumentation
The piece is scored in three movements for solo violin, solo viola, two oboes, two horns, and strings, the latter
including two sections of violas.
The solo viola part is written in D major instead of E flat major, and the instrument tuned a semitone sharper
(scordatura technique), to give a more brilliant tone. This technique is uncommon when performed on the modern
viola and is used mostly in performance on original instruments.
It has also been arranged for cello in place of the viola part.
Movements
• I. Allegro maestoso, common time
• II. Andante, 3/4, in C minor
• III. Presto, 2/4
Legacy
This Sinfonia Concertante has influenced many arrangers to use these themes. In 1808 an uncredited arrangement of
the piece for string sextet Grande Sestetto Concertante was published by Sigmund Anton Steiner. All six parts are
divided equally among the six players; it is not presented as soloists with accompaniment.
The opening two melodic phrases of "The Windmills of Your Mind," a song from the 1968 film The Thomas Crown
Affair, were adopted from the opening of the second movement of the Sinfonia Concertante.
The Sinfonia Concertante was mentioned in William Styron's 1979 novel Sophie's Choice; after a stranger molests
Sophie on the subway, she hears the Sinfonia Concertante on the radio, which brings back memories of her
childhood in Krakow and snaps her out of her depression.
Variations on the slow second movement were used for the soundtrack to the 1988 Peter Greenaway film Drowning
by Numbers by composer Michael Nyman. The original piece is also heard after each of the drownings in the
screenplay.
The American composer and bassist Edgar Meyer was so interested in this work that in 1995 he wrote a double
concerto for double bass, cello and orchestra that, while very different in style, closely mirrors the structure of
Mozart's Sinfonia concertante.
The andante movement of this piece was featured in Nuri Bilge Ceylan's 2002 film Uzak.
Sinfonia Sinfonia Concertante for Violin, Viola and Orchestra (Mozart) 110
References
• Mordden, Ethan. A Guide To Orchestral Music: A Handbook for Non-Musicians (Oxford, 1980).
• Smith, Erik. Notes to Mozart Sinfonia Concertante K364 (L.P. DECCA 1964)
External links
• Mozart Sinfonia Concertante: Free scores at the International Music Score Library Project.
• Sinfonia Concertante in Es für Violin, Viola und Orchester: Score [1] and critical report [2] (German) in the Neue
Mozart-Ausgabe
• Viola in music [3] - Sinfonia concertante for violin, viola and orchestra
• Grande Sestetto Concertante [4] - Grande Sestetto Concertante for String Sextet after the Sinfonia Concertante,
K.364. Edited by Christopher Hogwood.
References
[1] http:/ / dme. mozarteum. at/ DME/ nma/ nma_cont. php?vsep=135& gen=edition& l=1& p1=57
[2] http:/ / dme. mozarteum. at/ DME/ nma/ nma_cont. php?vsep=136& l=1& p1=29
[3] http:/ / www. viola-in-music. com/ Mozart_Sinfonia_Concertante. html
[4] http:/ / www. allthingsstrings. com/ article/ 151/ 151,4142,InPrint-1. asp
Movements
The concerto is divided into three movements:
1. Allegro
2. Largo (attacca)
3. Rondo alla polacca
The first movement is broadly scaled and cast in a moderate march tempo, and includes decorative solo
passage-work and leisurely repetitions, variations, and extensions of assorted themes. A common feature of this, is a
dotted rhythm (short-long, short-long) that lends an air of graciousness and pomp, that is not exactly "heroic" but
would have conveyed a character of fashionable dignity to contemporary listeners; and perhaps a hint of the noble
"chivalric" manner that was becoming a popular element of novels, plays, operas, and pictures. The jogging triplets
that figure in much of the accompaniment also contribute to this effect. In this movement, as in the other two
movements, the cello enters solo with the first subject. Unusual for a concerto of this scale, the first movement
Triple Triple Concerto (Beethoven) 111
begins quietly, with a gradual crescendo into the exposition, with the main theme later introduced by the soloists.
Another unusual trait is the exposition which modulates to A minor, instead of the expected G major.
The slow movement, in A-flat major, is a large-scale introduction to the finale, which follows it without pause. The
cello and violin share the melodic material of the movement between them while the piano provides a discreet
accompaniment.
Dramatic repeated notes launch into the third movement, which is a polonaise (also called "polacca"), an emblem of
aristocratic fashion during the Napoleonic era, which is, thus, in keeping with the character of "polite entertainment"
that characterizes this concerto as a whole. The bolero-like rhythm also characteristic of the polonaise, can be heard
in the central minor theme of the final movement.
In addition to the violin, cello, and piano soloists, the concerto is scored for one flute, two oboes, two clarinets, two
bassoons, two horns, two trumpets, timpani, and strings.
External links
• Triple Concerto: Free scores at the International Music Score Library Project.
Original instrument
Anton Weidinger reputably had developed a keyed trumpet which could play chromatically throughout its entire
range. Before this, the trumpet was commonly valveless and could only play a limited range of harmonic notes by
altering lip pressure. These harmonic notes were clustered in the higher registers, so previous trumpet concertos
could only play melodies at very high pitches (e.g., Bach's Brandenburg Concerto No. 2). Haydn's concerto includes
melodies in the lower register, exploiting the capabilities of the new instrument.
There were attempts all over Europe around the mid-classical era to expand the range of the trumpet using valves,
and Weidinger's idea of drilling holes and covering them with flute-like keys proved reasonably unpopular, due to
their poorer quality of sound. Thus the natural trumpet still had continual use in the classical orchestra whilst the
keyed trumpet had barely any repertoire. The valved trumpets used today started to appear in the 1830s.
Form
The work is composed in three movements (typical of a concerto), and they are marked as follows:
• I. Allegro (sonata)
• II. Andante (sonata)
• III. Finale-Allegro (rondo)
In addition to the solo trumpet, the concerto is scored for an orchestra consisting of 2 flutes, 2 oboes, 2 bassoons, 2
horns, 2 (presumably natural) trumpets (which generally play in support of the horns or timpani rather than the solo
trumpet), timpani and strings.
Trumpet Trumpet Concerto (Haydn) 112
External links
• Trumpet Concerto: Free scores at the International Music Score Library Project.
First movement
The first movement is marked Moderato and is in sonata form as follows.
Second movement
In the Serly edition, the second movement begins with an introduction. This lento parlando introduction has been
left out by the other editions, as it might have belonged to the incomplete or abandoned scherzo movement.
The movement is marked Adagio religioso.
Third movement
The third movement also begins with an introduction. The fifth-based chord played at the beginning is repeated in
the middle of the movement, when a folk melody is introduced.
The movement is marked Allegro vivace.
References
[1] Rodman, Michael. "Viola Concerto (completed in 1949 by Tibor Serly), Sz. 120, BB 128" (http:/ / www. allmusic. com/ work/ c7785).
Allmusic. . Retrieved 25 March 2010.
Bibliography
• Malcolm Gillies: "Bela Bartók", Grove Music Online ed. L. Macy (Accessed June 25, 2005), (subscription
access) (http://www.grovemusic.com)
• Maurice, Donald. Bartók's Viola Concerto: The Remarkable Story of His Swansong. New York: Oxford
University Press, 2004. ISBN 0-19-515690-0
Violin Violin Concerto (Beethoven) 114
Structure
The work is in three movements:
1. Allegro ma non troppo (D major)
2. Larghetto (G major)
3. Rondo. Allegro (D major)
It is scored, in addition to the solo violin, for single flute, and pairs of oboes, clarinets, bassoons, horns, trumpets,
and timpani along with strings. Cadenzas for the work have been written by several notable violinists, including
Joachim. The cadenzas by Fritz Kreisler are probably most often employed. More recently, composer Alfred
Schnittke provided controversial cadenzas with a characteristically 20th-century flavor; violinist Gidon Kremer has
recorded the concerto with the Schnittke cadenzas.
The first movement starts with four beats on the timpani as the opening notes, and it has a duration of about 25
minutes. The entire work itself is approximately 45 minutes in duration.
Alternative versions
Perhaps due to the Violin Concerto's lack of success at its premiere, and at the request of Muzio Clementi,
Beethoven revised it in a version for piano and orchestra, which was later published as Opus 61a. For this version,
which is present as a sketch in the Violin Concerto's autograph alongside revisions to the solo violin part,[4]
Beethoven wrote a lengthy, somewhat bombastic first movement cadenza which features the orchestra's timpanist
along with the solo pianist. This and the cadenzas for the other movements were later arranged for the violin by the
20th-century violinists Max Rostal and Wolfgang Schneiderhan.
More recently, it has been arranged as a concerto for clarinet and orchestra, by Mikhail Pletnev.[5]
Violin Violin Concerto (Beethoven) 115
Notes
[1] Eulenburg pocket score, preface, p.3
[2] Eulenburg pocket score, p. 3
[3] Steinberg, M. The concerto: a listener's guide, page 81. Oxford University Press, 1998.
[4] Ludwig van Beethoven. Konzert für Violine & Orchester D-dur Opus 61.[Österreichische Nationalbibliothek, Wien, Mus. Hs. 17.538] Edited,
with commentary (in German) by Franz Grasberger. Graz, 1979.
[5] Music Web International (http:/ / www. musicweb-international. com/ classrev/ 2000/ oct00/ beethovenviolinclarinet. htm)
References
• Beethoven, Ludwig van: Concerto for Violin and orchestra in D major op. 61. Score. Eulenburg 2007. EAS 130
• Beethoven, Ludwig van: Konzert für Violine & Orchester D-dur Opus 61. (Facsimile edition of autgraph full
score) Österreichische Nationalbibliothek, Wien, Mus. Hs. 17.538. Edited, with commentary (in German) by
Franz Grasberger. Graz, 1979.
External links
• Violin Concerto: Free scores at the International Music Score Library Project.
• Complete performance by the Boston Symphony Orchestra (http://www.npr.org/templates/story/story.
php?storyId=6519828)
• Complete performances (http://www.archive.org/search.php?query=beethoven violin concerto) from the
Internet Archive by Jascha Heifetz/Arturo Toscanini & Fritz Kreisler/John Barbirolli.
• Theme from third movement (http://www.8notes.com/school/riffs/violin/beethoven_violin_concerto.asp)
• The new Bärenreiter edition of Beethoven’s violin concerto (http://www.neokitsch.com/2010/12/
the-new-barenreiter-edition-of-beethoven’s-violin-concerto/)
116
Concertos by composer
List of concertos
• GWV 301 — Bassoon Concerto in C major
• GWV 302 — Concerto for oboe d'amore in C major
• GWV 303 — Concerto for 2 chalumeaux in C major
• GWV 304 — Concerto for 2 violins in C major
• GWV 305 — Concerto for 2 flutes in C major
• GWV 306 — Concerto for chalumeau, bassoon and cello in C major
• GWV 307 — Bassoon Concerto in C minor
• GWV 308 — Trumpet Concerto in D major
• GWV 309 — Trumpet Concerto in D major
• GWV 310 — Flute Concerto in D major
• GWV 311 — Flute Concerto in D major
• GWV 312 — Flute Concerto in D major
• GWV 313 — Concerto for oboe d'amore in D major
• GWV 314 — Concerto for viola d'amore in D major
• GWV 315 — Concerto for 2 flutes in D major
• GWV 316 — Concerto for 2 flutes in D major
• GWV 317 — Concerto for viola d'amore & viola in D major
• GWV 318 — Concerto for 2 trumpets in D major
• GWV 319 — Concerto for 2 violins in E flat major
• GWV 320 — Flute Concerto in E major
• GWV 321 — Concerto for 2 flutes in E minor
• GWV 322 — Concerto for 2 flutes in E minor
• GWV 323 — Recorder Concerto in F major
• GWV 324 — Oboe Concerto in F major
• GWV 325 — Concerto for 2 chalumeaux in F major
• GWV 326 — Concerto for 2 oboes di selva in F major
• GWV 327 — Concerto for chalumeau, flute & viola d'amore in F major
• GWV 328 — Bassoon Concerto in G major
• GWV 329 — Flute Concerto in G major
• GWV 330 — Concerto for 2 flutes in G major
• GWV 331 — Concerto for 2 flutes in G major
• GWV 332 — Concerto for 2 horns in G major
• GWV 333 — Concerto for flauto d'amore, oboe d'amore & viola d'amore in G major
• GWV 334 — Concerto for 2 violins in G minor
• GWV 335 — Concerto for 2 violins in G minor
• GWV 336 — Concerto for viola d'amore in G minor
Concertos by Christoph Graupner 117
Selected discography
• Graupner: Ritratti a colori (Concertos). Antichi Strumenti, orchestra. (Stradivarius 33581)
• Graupner: Instrumental and vocal music Vol. 1. Les idées heureuses, orchestra. (Analekta 3162)
• Graupner: Instrumental and vocal music Vol. 2. Les idées heureuses, orchestra. (Analekta 3180)
• Graupner: Instrumental and vocal music Vol. 3. Les idées heureuses, orchestra. (Analekta 9115)
References
[1] Oswald Bill And Christoph (editors), Christoph Graupner : Thematisches Verzeichnis der Musikalischen Werke (1683-1760), Stuttgart: Carus
Verlag, 2005. ISBN 389948066X
External links
• The Christoph Graupner Society Homepage (http://www.christoph-graupner-gesellschaft.de/)
• Extensive online bibliography for research on Christoph Graupner (http://elib.tu-darmstadt.de/lhb/graupsite/
Graupner06.html)
• ULB Library (http://www.ulb.tu-darmstadt.de/ulb/graupsite/Graupner01.html) Graupner's music
manuscripts and archives in Darmstadt, Germany
• Kim Patrick Clow's webpage (http://www.christophgraupner.info) dedicated to promoting Graupner's work.
• Free scores (http://icking-music-archive.org/ByComposer/Graupner.php) by Christoph Graupner in the
Werner Icking Music Archive (WIMA)
Concertos by Joseph Haydn 118
For violin
• Violin Concerto No. 1 in C major, Hob. VIIa/1 (ca. 1765)
• Violin Concerto No. 2 in D major, Hob. VIIa/2 (1765, lost)[1]
• Violin Concerto No. 3 in A major, Hob. VIIa/3 (ca. 1770)
• Violin Concerto No. 4 in G major, Hob. VIIa/4 (1769)
Other Concertos (Hob. VIIa:A1/B1/B2/D1/G1) are not authentic are not by Joseph Haydn.
- D1 - Concerto, en ré majeur, pour violon et orchestre (2 hautbois, 2 cors, 2 violons, alto et basse) (work by
Carl Stamitz?)
- G1 - Concerto, en sol majeur, pour violon et cordes (2 violons, alto et basse) (work by Michael Haydn?)
- A1 - Concerto, en la majeur, pour violon et …(work by Giornovichi?)
- B1 - Concerto, en si bémol majeur, pour violon et cordes (2 violons, alto et basse) (by Michael Haydn)
- B2 - Concerto, en si bémol majeur, pour violon et cordes (2 violons, alto et basse) (by Christian Cannabich)
For violoncello
• Cello Concerto No. 1 in C, Hob. VIIb/1 (1761-5)
• Cello Concerto No. 2 in D, Hob. VIIb/2 (Op. 101) (1783)
• Cello Concerto No. 3 in C, Hob. VIIb/3 (lost)[1]
• Cello Concerto No. 4 in D, Hob. VIIb/4 (spurious, written by G.B. Constanzi? in 1772?)
• Cello Concerto No. 5 in C-Major, Hob. VIIb/5 (spurious, written by David Popper in 1899)[2]
For horn
• Horn Concerto in D major, Hob. VIId/3 (lost)
• Concerto for Two Horns in E flat, Hob. VIId/2 (lost)
• Horn Concerto No. 1 in D, Hob. VIId/3, 1762
• Horn Concerto No. 2 in D, Hob. VIId/4 (doubtful), 1781
• Concerto for Two Horns in E flat, Hob. VIId/6 (attrib.; maybe Hob. VIId/2?)
Concertos by Joseph Haydn 119
For trumpet
• Trumpet Concerto in E flat, Hob.:VIIe/1, (1796)
For flute
• Flute Concerto in D, Hob. VIIf/1, (1780?)[1]
• Flute Concerto in D, Hob. VIIf/D1 (spurious, by Leopold Hoffman)
Haydn also wrote several more concertos, which all have been lost.
For oboe
• Oboe Concerto in C major, Hob. VIIg:C1 (179?) (spurious)
For baryton
There are 3 concertos for baryton known but lost or have doubtful authenticity.
• Concerto for baryton in D, Hob. XIII:1 (before 1770)
• Concerto for baryton in D, Hob. XIII:2 (before 1770)
• Concerto for 2 barytons in D, Hob. XIII:3 (before 1770)
Notes
[1] HC Robbins Landon, Haydn: Chronicle and Works, 5 vols, (Bloomington and London: Indiana University Press, 1976-) v. 1, Haydn: the
Early Years, 1732-1765
[2] IMSLP Score (http:/ / imslp. org/ wiki/ Cello_Concerto,_Hob. VIIb:5,_C_Major_(Haydn,_Joseph))
[3] Pictures of lire organizzatta (http:/ / matthias. loibner. net/ lira/ lira. html)
References
• The New Grove Encyclopedia of Music and Musicians offers a complete list, with the current best-estimate
dating, of Haydn's concertos and other works. The listing is repeated in the spin-off volume by Webster and
Feder, The New Grove Haydn.
Article Sources and Contributors 121
Concertino Source: http://en.wikipedia.org/w/index.php?oldid=448068059 Contributors: 1029384k, Bruce1ee, Cote d'Azur, DavidRF, Funper, Graham87, Headbomb, Hu, JackofOz,
Jamiemusic, Maelnuneb, Pegship, Phronima, Redheylin, Twirk88, Vejvančický, Vlmastra, 11 anonymous edits
Concerto grosso Source: http://en.wikipedia.org/w/index.php?oldid=461627962 Contributors: AParker1, Alex.muller, Andres, Antandrus, Badagnani, Bjankuloski06en, BlackCLEOsheep,
Bobby Davro, Camembert, Cferrero, Classickol, DavidRF, Dimitris, Djoko, Doktor Who, Earlypsychosis, EldKatt, Francis Schonken, Graham87, Hammer1980, Harland1, Headbomb, Heron,
Hornandsoccer, Ironcymru, Isnow, Japanese Searobin, Jerome Kohl, Jlhughes, Jokestress, Joniscool98, Karol Langner, Kleinzach, Lethesl, Louietyj, Martin Kozák, Mgclapé, Mgoetze,
Mozart2005, Myanw, Neilthecellist, Pharaoh of the Wizards, Phronima, R. fiend, Razorflame, Redheylin, Rettetast, Rigadoun, Samwb123, Sketchee, Spiritia, Temporaluser, Twang, Uw Nitsuj,
Viktorianec, Violncello, Znusgy, 48 anonymous edits
Concerto for orchestra Source: http://en.wikipedia.org/w/index.php?oldid=453649344 Contributors: 0424mae, Camembert, Colindownes, Crculver, Dono, FordPrefect42, Francis Schonken,
Headbomb, JackofOz, Jeong-Hun Jeong, Kombelpeter, Mahlerite, MegA, Puuropyssy, RCS, RobertG, Tassedethe, Tokyo Dream, TotalLunarEclipse, Violncello, 34 anonymous edits
Sinfonia concertante Source: http://en.wikipedia.org/w/index.php?oldid=453985322 Contributors: Afasmit, BrunoMaggiore, CSWarren, Classickol, Danielbaer, Darwinek, DavidRF, Dream
Reverie, FoeNyx, Francis Schonken, Fredrik, Gardnerja, Gnayshkr3020, GreatWhiteNortherner, Headbomb, J Lorraine, Keinstein, Lethesl, Mahlered, MegA, Melodia, Michael Slone,
Missmarple, Mnd, OboeCrack, Oliphaunt, Opus33, Pladask, Redheylin, Rhebus, Rigadoun, Schissel, Sketchee, Swanstone, TarisWerewolf, Violncello, Zslack, Андрей Романенко, 38
anonymous edits
Ripieno concerto Source: http://en.wikipedia.org/w/index.php?oldid=451589208 Contributors: Cwmhiraeth, Download, Gopal81, Headbomb, Hmains, Johnlp, Malcolma, Shsimon.rm, 2
anonymous edits
Solo concerto Source: http://en.wikipedia.org/w/index.php?oldid=387673566 Contributors: Allstarecho, BlackCLEOsheep, CARAVAGGISTI, Camw, Chris the speller, Headbomb, Hmains,
Kozuch, Leofric1, Malcolma, Megapixie, Merosonox, Mike Rosoft, Rigadoun, RobertG, Shsimon.rm, 4 anonymous edits
Student concerto Source: http://en.wikipedia.org/w/index.php?oldid=387673570 Contributors: Brequinda, Bruce1ee, DavidRF, Fashionslide, Headbomb, HorsePunchKid, PigFlu Oink,
Pimlottc, Springeragh, ViolinGirl, Violncello
Bass oboe concerto Source: http://en.wikipedia.org/w/index.php?oldid=418264685 Contributors: Dano37, Headbomb, JackofOz, OboeCrack, 3 anonymous edits
Bassoon concerto Source: http://en.wikipedia.org/w/index.php?oldid=460884561 Contributors: Afasmit, AtOMiCNebula, Avicennasis, Badagnani, Casadesus, Clarin, ComposerDJR, DavidRF,
Graham87, Headbomb, Kschwerdt514, Lesnail, Lumenor, Mahummel, Missmarple, Mozetich, Pegship, Redheylin, Risker, Springeragh, 258 anonymous edits
Cello concerto Source: http://en.wikipedia.org/w/index.php?oldid=461278575 Contributors: Applovr, Atavi, Babelcello, Badagnani, Bjornredtail, Casadesus, Chircu, Classickol, DavidRF,
Defrosted, Flcelloguy, Frosty0814snowman, Gerda Arendt, Hapless Hero, Headbomb, JackofOz, Jang Yoon, JohnWYC, Karol Langner, Kelovy, Lesnail, Lumenor, Maestroukr, Martpol, Michael
Bednarek, Mintleaf, Missmarple, Naddy, Niteowlneils, Nono64, Nuclearmound, Passionatecellist, Pavel Vozenilek, Rchillyard, RobertG, Ryguillian, Schissel, Screetchy cello, Springeragh,
Stevouk, Swanstone, Violncello, Welsh, 89 anonymous edits
Clarinet concerto Source: http://en.wikipedia.org/w/index.php?oldid=459966393 Contributors: Agp1, Alfa, Antandrus, Badagnani, Belvdme, Bingo-101a, Blummyd, Boodg, Camembert,
CharlotteWebb, Classickol, Colonies Chris, DavidRF, Deb, Dialdfordumbass, Dmr2, Etan J. Tal, Graham1973, Graham87, Headbomb, Hstokar, JackofOz, Jerome Kohl, John pirie, Jokestress,
Karol Langner, Liornavok, Marlewo, Merlin9909, Michael Bednarek, Missmarple, Nerdypoo, Qst, Qwyrxian, Rich Farmbrough, Rjwilmsi, Robert.Allen, Rsholmes, Schissel, Ser Amantio di
Nicolao, Springeragh, Tassedethe, Template namespace initialisation script, Tomaxer, Wahoofive, Xav71176, 70 anonymous edits
Double bass concerto Source: http://en.wikipedia.org/w/index.php?oldid=417296486 Contributors: Badagnani, Classickol, Darobsta, Grahamdrucker, Grimey109, Headbomb, Hrdinský, Luna
Santin, Malcolma, Markjdb, Rettetast, Rich Farmbrough, Virtuosito, Woahritz Mededink, 16 anonymous edits
Double concertos for violin and cello Source: http://en.wikipedia.org/w/index.php?oldid=462876924 Contributors: (RT), 20thcviolinconcertos, After Midnight, Ammianus77, CanisRufus,
CenturionZ 1, Choalbaton, Dafoeberezin3494, Edward Wong George, Gaius Cornelius, Headbomb, Hyacinth, ILike2BeAnonymous, JackofOz, Jonathan.s.kt, Jordiferrer, Missmarple,
Pschmidinger, Rjwilmsi, Rozsaphile1, Schissel, Springeragh, Swanstone, Tassedethe, Thehelpfulone, Vcsam, Violncello, Wahoofive, Welsh, 16 anonymous edits
English horn Source: http://en.wikipedia.org/w/index.php?oldid=453831918 Contributors: 4meter4, Afasmit, Bender235, Cgingold, JaGa, Jerome Kohl, Rothorpe, Ser Amantio di Nicolao,
Sluzzelin, Tassedethe, Ulric1313, 12 anonymous edits
Flute concerto Source: http://en.wikipedia.org/w/index.php?oldid=458220485 Contributors: 4meter4, Aclarinet62, Badagnani, Classickol, Courcelles, Czaikowski, Dano37, DavidRF, Dbolton,
Deskford, Fluteflute, GAVVA23212, GirasoleDE, Headbomb, Howdydooty, Hyacinth, JackofOz, Jerome Kohl, Matthead, Stevouk, TF537, Tassedethe, 82 anonymous edits
Harmonica concerto Source: http://en.wikipedia.org/w/index.php?oldid=451589431 Contributors: Badagnani, Headbomb, Rob, Siegel-schwall, 2 anonymous edits
Harpsichord concerto Source: http://en.wikipedia.org/w/index.php?oldid=426040230 Contributors: Aotake, Badagnani, Betacommand, Brynhilde, Camembert, Chris53516, Clavecin, Cryptic,
DannyDaWriter, Dillonford, Graham87, Headbomb, JackofOz, Jj, Karol Langner, Kleinzach, LilHelpa, Lord Sealand, Marcus2, Milesflint, Missmarple, Opus33, Outriggr, RobertG,
StradivariusTV, Violncello, Woohookitty, 25 anonymous edits
Oboe concerto Source: http://en.wikipedia.org/w/index.php?oldid=451589444 Contributors: Afasmit, Badagnani, GirasoleDE, Graham87, Headbomb, JHunterJ, JackofOz, John Cardinal,
Leofric1, Lisztrachmaninovfan, MegA, Move3e, Shoemaker's Holiday, Strikerforce, Tassedethe, The Stickler, 16 anonymous edits
Organ concerto Source: http://en.wikipedia.org/w/index.php?oldid=428266081 Contributors: Chris the speller, Danmuz, DavidRF, Egemont, Flewis, GFHandel, Gerda Arendt, Graham87,
Headbomb, JackofOz, Keanur, Mathsci, MatthewVanitas, Otolemur crassicaudatus, RobertG, Rohrwerk, Thiseye, 20 anonymous edits
Piano concerto Source: http://en.wikipedia.org/w/index.php?oldid=455238446 Contributors: Alton, Applovr, Arthena, Bleh fu, Camembert, Can't sleep, clown will eat me, Chris53516,
Clavecin, Crculver, Danij84, Darwinek, Defrosted, Funion987, Geogre, Graham87, Grahbudd, Headbomb, Hstokar, Infrogmation, JackofOz, Jre58591, Karol Langner, Keinstein, Kenkoo1987,
Leszek Jańczuk, Lisztrachmaninovfan, Lloyd Arriola, Maximilian Caldwell, MegA, Mfearby, Michael Bednarek, Missmarple, P0lyglut, Prismsplay, RobertG, Schissel, SimonP, Softlavender,
Springeragh, TYelliot, Tim Bell, Tokyo Dream, TotalFailure, Violncello, WikHead, Wiki alf, 93 anonymous edits
Timpani concerto Source: http://en.wikipedia.org/w/index.php?oldid=402016544 Contributors: Boodg, Cgingold, Eeekster, Headbomb, Hmains, Malcolma, Volvo B9TL, 11 anonymous edits
Triple concertos for violin, cello, and piano Source: http://en.wikipedia.org/w/index.php?oldid=447304651 Contributors: 20thcviolinconcertos, B.gilmore, Birchcliff, CenturionZ 1, Cote
d'Azur, Dafoeberezin3494, Docu, Graham87, Headbomb, ILike2BeAnonymous, JackofOz, Kleinzach, Rjwilmsi, Rothorpe, Schissel, Springeragh, Swanstone, Tassedethe, Thedarkestclear,
Андрей Романенко, 6 anonymous edits
Article Sources and Contributors 122
Trumpet concerto Source: http://en.wikipedia.org/w/index.php?oldid=462291547 Contributors: Bjankuloski06en, DavidRF, Dbolton, Headbomb, Hhowey, KFtpt, Rich Farmbrough,
TptmasterHalifax, Willi Gers07, 10 anonymous edits
Viola concerto Source: http://en.wikipedia.org/w/index.php?oldid=452317830 Contributors: 4meter4, AdamChapman, Adso de Fimnu, Allentoff, Badagnani, Basboy, Bkn-od,
Bratsche@gnome.org, Casadesus, CenturionZ 1, Cje, Clarkesociety, Classickol, Cliffa, Compuguy1088, Conal Grealis, David.daibhidh, Diz syd 63, Gingermint, Headbomb, Hmains, J Lorraine,
JackofOz, Karol Langner, Kenneth.martinson, Kiwa, Marcparella, Markjdb, Missmarple, Namerest, Nigel Keay, Pirelite, Qwerty334, Qwyrxian, Rich Farmbrough, Schissel, Spod mandel,
Stevouk, Swanstone, Toccata quarta, Zootweek, 53 anonymous edits
Violin concerto Source: http://en.wikipedia.org/w/index.php?oldid=464996249 Contributors: 20thcviolinconcertos, 4twenty42o, Acjelen, Antandrus, Applovr, Badagnani, Beckus, Brisellirc,
Camembert, Casadesus, CenturionZ 1, CharlieRCD, Chick Bowen, Classickol, Cohaniuc, Colonies Chris, DCGeist, Dano37, Davfoster88, Defrosted, FordPrefect42, GTBacchus, Graham1973,
Graham87, Headbomb, Hec395, Hstokar, Iokseng, Ixfd64, JackofOz, Josquin, Jubinx, KINU, Karol Langner, Kunstderfuge, Lovejonian, Lumenor, Marcus2, Michael Bednarek, Mindreau,
Mindspillage, Mirror Vax, Missmarple, Ocean Shores, PJtP, Robertgreer, Rrburke, Rufe, S.dedalus, Schissel, SinisterStrauss, Sluzzelin, Springeragh, Stevesf92990, Swanstone, Thestrad1713,
Xingquan, XxPantherNovaXx, 180 anonymous edits
Bassoon – Bassoon Concerto (Mozart) Source: http://en.wikipedia.org/w/index.php?oldid=451184633 Contributors: 4meter4, Bsnjon, Casadesus, CenturionZ 1, DavidRF, Dsmdgold,
Fvasconcellos, Gerda Arendt, Graham87, Grm wnr, Headbomb, Jetman, Leonard Vertighel, Lesnail, Linkofspades, MikeCapone, Missmarple, RaminusFalcon, Raul654, Ross280, Sjones23,
Starwiz, Tijd-jp, Vejvančický, Willi Gers07, 19 anonymous edits
Cello – Cello Concerto (Elgar) Source: http://en.wikipedia.org/w/index.php?oldid=462645017 Contributors: Ajmyatt, Antandrus, Bkonrad, Bornintheguz, CenturionZ 1, Colonies Chris,
Crawdaddio, Cyrus XIII, DTOx, DavidRF, Dono, Drewheasman, Elitism, Emeraldimp, Excuse My Dust, Fram, GJ, Graham87, Headbomb, Hux, JackofOz, Japanese Searobin, Johnhousefriday,
Joyous!, Katechanhk, Leonard Vertighel, Lethesl, Lipmingarolnick, Niall Guinan, Nunquam Dormio, Orenburg1, RobertG, SMLRN, Sallyrob, SamuelTheGhost, Schissel, Sharkface217,
Sketchee, Smerus, Springeragh, Ssilvers, Thincat, Tim riley, Toddlertoddy, VampWillow, Vstrad7, Wetman, Wolf530, Ziga, 43 anonymous edits
Clarinet – Clarinet Concerto (Mozart) Source: http://en.wikipedia.org/w/index.php?oldid=463350872 Contributors: Akumiszcza, Al Pereira, Antandrus, Arnehans, Ashdurbat, Atavi,
Belvdme, Briguychau, CRH5889, CSWarren, Canley, Chilli2012, Cpl Syx, Crochet, Darev, DavidRF, DeadEyeArrow, Diotti, Dr. Friendly, DrG, EricWesBrown, Eusebeus, FordPrefect42,
Fritsebits, Frysun, GFHandel, Graham87, Grendelkhan, Gurkha, Headbomb, Japanese Searobin, Leonard Vertighel, Lesnail, Lrkleine, MegX, Missmarple, Moose6589, Morn, Nikkimaria,
PawelQ, Porsche997SBS, Ralphwaldo, Raul654, RelHistBuff, Rick Block, Rsholmes, SarekOfVulcan, Schissel, Shadowjams, Sjhan81, SoLando, Starwiz, Stemonitis, Stubblyhead,
Swalker10859, Themfromspace, Visium, Willbee, Willi Gers07, Zeisseng, 弦楽五重奏, 69 anonymous edits
Double – Double Concerto (Brahms) Source: http://en.wikipedia.org/w/index.php?oldid=463121888 Contributors: Blehfu, Camembert, Casadesus, ColoradoSprings, DJRafe, DTOx, DavidRF,
Eebahgum, Etoilebleu06, Graham87, Grm wnr, Headbomb, Hyacinth, JackofOz, Japanese Searobin, Jetman, Jro571, Leonard Vertighel, Lilac Soul, P Ingerson, Rjwilmsi, RobertG, Schissel,
Scutter7282, Shiftworker, Sketchee, Solti, Springeragh, SteveJothen, Swanstone, Szalax, TJRC, Tassedethe, Tomkeene, Wetman, Wired361, Zapane, 10 anonymous edits
Flute – Flute Concerto (Simpson) Source: http://en.wikipedia.org/w/index.php?oldid=387674573 Contributors: DavidRF, Fabrictramp, H.Sdraulig, Headbomb, Koavf, Malcolma, Sallicio, 1
anonymous edits
Harmonica – Concerto for Harmonica and Orchestra (Arnold) Source: http://en.wikipedia.org/w/index.php?oldid=440132877 Contributors: CharlesMartel, JackofOz, Metebelis, Rjwilmsi,
Schissel, Ser Amantio di Nicolao, TexasAndroid, 5 anonymous edits
Harpsichord – Harpsichord concertos (Bach) Source: http://en.wikipedia.org/w/index.php?oldid=462848043 Contributors: Califra, Clavecin, Crochet, DannyDaWriter, Darev, DavidRF,
Erutuon, GPattle, Gerda Arendt, Graham87, Headbomb, JHMM13, JeanneShade, Jlhughes, JustAGal, Katzenfrucht, Killerandy, Lewisevand, Migospia, Nickanc, Ocean Shores, PhilKnight,
Philologer, Rothorpe, Straw Cat, Tim Barron, Winston365, Woohookitty, 49 anonymous edits
Oboe – Oboe Concerto (Mozart) Source: http://en.wikipedia.org/w/index.php?oldid=442691405 Contributors: BL Lacertae, Bruce1ee, DTOx, Darev, DavidRF, Flutedude, FordPrefect42,
Graham87, Headbomb, HeartofaDog, Iridescent, J Milburn, Lesnail, MECU, OboeCrack, Oncamera, Robert Happelberg, Schissel, TheFeds, Tigers boy, Vejvančický, 7 anonymous edits
Orchestra – Concerto for Orchestra (Bartók) Source: http://en.wikipedia.org/w/index.php?oldid=449433254 Contributors: Addaick, Camembert, Cancun771, Cielomobile, Darev, DavidRF,
Delirium, Dr. Friendly, Engineer Bob, EnglishHornDude, ErinKM, FordPrefect42, Francis Schonken, Gdr, Graham87, Henry Flower, ILike2BeAnonymous, Impy4ever, JackofOz, Jerome Kohl,
Jetman, Karol Langner, Kelovy, Kyoko, Lduhlman, Lincoln Town Car, Mlang.Finn, Nd4SU, Oliphaunt, Oxymoron83, RCS, Rich Farmbrough, RobertG, RobertKennesy, Sfan00 IMG, Slysplace,
Squandermania, TripleGemini, Vrenator, Wildbill hitchcock, 50 anonymous edits
Organ – Organ Concerto (Poulenc) Source: http://en.wikipedia.org/w/index.php?oldid=453638774 Contributors: Bois guilbert, Danmuz, DavidRF, Egemont, Etincelles, JCcat, JackofOz,
Keanur, LilHelpa, Mathsci, Mild Bill Hiccup, Orgelmann, Woohookitty, 4 anonymous edits
Piano – Piano Concerto No. 2 (Rachmaninoff) Source: http://en.wikipedia.org/w/index.php?oldid=464469662 Contributors: 430072, 5amsara, Addaick, Alegoo92, AlexChao, Alexs letterbox,
Alton, Amire80, Andy M. Wang, Ant, Ashdurbat, Avoided, Baltho, Blehfu, BlueMoonlet, Bobo192, Bstephens393, CSWarren, Canned Soul, CenturionZ 1, Challisrussia, Chewy3326, Coeshee,
Crazydna, Crrauch, Daverocks, Davidweiner23, Design, Dom Kaos, Drrngrvy, Drumnbach, EldKatt, Erianna, Etincelles, Fang Aili, Freikorp, Gabbe, Goudzovski, Graham87, Grover cleveland,
Grstain, Gwern, Headbomb, Hersfold, Hoops gza, Hyacinth, Hypo, IAmAgentMunky, Intgr, JackofOz, Jamesontai, Japanese Searobin, Jared Hunt, Jaser 12345, Jenamy, Johnlumgair,
Jonathan.s.kt, Justin Tokke, Karewabakada, Kleinzach, Knightofcydonia49, Kurykh, Kyoko, La Pianista, Lonely Lovelorness, MChew, Macabre Deified, Maestro.gandhi, Magog the Ogre 2,
Maryphillips, Melchoir, Mhoenig, Mike Rosoft, Missmarple, Mordant21, Nightspirit, OboeCrack, PianoRoss, Pierceno, Plasticup, Porsche997SBS, Quadalpha, RayBirks, Rebiolca, Redeeming
Light, Rjwilmsi, Sannse, Schissel, Ser Amantio di Nicolao, Sergeantbreinholt, Shantavira, SigPig, SimonP, Slysplace, Smyth, Someone42, Spang, Springeragh, Stemonitis, Svm2, Tadramgo,
Tempodivalse, TheLeopard, TheProject, Themfromspace, Theorb, Tigerjojo98, Timneu22, Trelawnie, Triviatracer, Ugen64, WikiDon, Wikipelli, Wildbill hitchcock, Wowwowbaby, Xiner, 177
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Sinfonia – Sinfonia Concertante for Violin, Viola and Orchestra (Mozart) Source: http://en.wikipedia.org/w/index.php?oldid=448113152 Contributors: AKM, After Midnight, Al Pereira,
Casadesus, Chochopk, Clementi, Cmdrjameson, DavidRF, Design, Francis Schonken, Graham87, HOT, Hrdinský, J.delanoy, Kazubon, Kleinzach, PJtP, Raul654, Rbrwr, Schissel, Swanstone,
Woyzzeck, 38 anonymous edits
Triple – Triple Concerto (Beethoven) Source: http://en.wikipedia.org/w/index.php?oldid=444947734 Contributors: Athene noctua, Bellhalla, Birchcliff, Blazingvirtuosity, Bmdavll, Bootbnd,
Brocefferv, Bwv1004, CenturionZ 1, Darev, David Kernow, DavidRF, Egdelwonk, Fhudkins, Gee19685, Graham87, Hbj200, Headbomb, JackofOz, Leonard Vertighel, Lesnail, Mark K. Jensen,
Mnd, Ocean Shores, Ohconfucius, R'n'B, Rigaudon, Rothorpe, Slysplace, Smedley Hirkum, Springeragh, Swanstone, Szalax, Todeswalzer, Tripallokavipasek, Violncello, Willi Gers07, 24
anonymous edits
Trumpet – Trumpet Concerto (Haydn) Source: http://en.wikipedia.org/w/index.php?oldid=451023415 Contributors: Addaick, Bergqvistjl, Closedmouth, Dagobert Drache, DavidRF, Dbolton,
Emeraude, Erenaeoth, EurekaLott, Fred sienkiewicz, Horn of Plenty, ILike2BeAnonymous, JackofOz, Leonard Vertighel, Leverkuhn86, Obelix83, OverlordQ, Pegship, Ra & Chloe, Shimofusa
Dainagon, TrumpetMan202, Trumpetrep, Warofdreams, Will "Borodin" Roberts, Winston365, Yanghank, Ziga, 12 anonymous edits
Viola – Viola Concerto (Bartók) Source: http://en.wikipedia.org/w/index.php?oldid=464732953 Contributors: 1viola, Antandrus, Athaenara, Crazycomputers, Deafussy, Fotispezos,
Gingermint, Hrdinský, Hyacinth, IbLeo, JackofOz, Jerome Kohl, Jetman, Jonathan.s.kt, Katzenfrucht, Opus33, Squandermania, TJRC, 22 anonymous edits
Violin – Violin Concerto (Beethoven) Source: http://en.wikipedia.org/w/index.php?oldid=447485321 Contributors: AlexOvShaolin, Alexandergreenb, BD2412, BazookaJoe, Bsv.com,
Camembert, CardinalDan, Cchamp27, CenturionZ 1, Darev, David Kernow, DavidRF, Desiderius82, Engineer Bob, Francis Schonken, HarryAlffa, Headbomb, JackofOz, Johnwhite79,
JulieRudiani, Just plain Bill, Kejo13, Lambyuk, Lawrence H K, Leonard Vertighel, Lesnail, Lilac Soul, LotteZelda, Mathpianist93, Meelar, Missmarple, Mlang.Finn, Mnd, MosheA, Mscuthbert,
Mtsmallwood, Musicaficta, Ocean Shores, Ohconfucius, Opus33, Oxymoron83, Qmwne235, Rachel1, Rigaudon, Rjwilmsi, Robert Happelberg, Sam Hocevar, Schissel, Seherr, Skiasaurus,
Slysplace, Springeragh, Spyroninja, Szalax, TBHecht, The Tarr Steps Troll, Twpsyn Pentref, Vegaswikian, Vejvančický, Wildbill hitchcock, Wrestplank, Ziga, Zsinj, 42 anonymous edits
Concertos by Christoph Graupner Source: http://en.wikipedia.org/w/index.php?oldid=439925175 Contributors: Benhomo, Capricorn42, Chris the speller, Fbourgeois, Tijd-jp, 1 anonymous
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Concertos by Joseph Haydn Source: http://en.wikipedia.org/w/index.php?oldid=464080138 Contributors: Arsene, Bento00, Casadesus, DavidRF, Eusebeus, GFHandel, Graham1973,
Headbomb, Jlhughes, Lisztrachmaninovfan, Maximilian Caldwell, Milkunderwood, Misha Mullov-Abbado, Opus33, PhilKnight, Swanstone, TBHecht, Tijd-jp, Twas Now, Yury Bulka, 18
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Image Sources, Licenses and Contributors 123
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