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Concerto

{{Short description|Musical composition typically for a soloist with accompaniment}}

{{Other uses}}

{{Use dmy dates|date=January 2025}}

A concerto ({{IPAc-en|k|ə|n|ˈ|tʃ|ɛər|t|oʊ}}; plural concertos, or concerti from the Italian plural) is, from the late Baroque era, mostly understood as an instrumental composition, written for one or more soloists accompanied by an orchestra or other ensemble. The typical three-movement structure, a slow movement (e.g., lento or adagio) preceded and followed by fast movements (e.g., presto or allegro), became a standard from the early 18th century.

The concerto originated as a genre of vocal music in the late 16th century: the instrumental variant appeared around a century later, when Italians such as Giuseppe Torelli and Arcangelo Corelli started to publish their concertos. A few decades later, Venetian composers, such as Antonio Vivaldi, had written hundreds of violin concertos, while also producing solo concertos for other instruments such as a cello or a woodwind instrument, and concerti grossi for a group of soloists. The first keyboard concertos, such as George Frideric Handel's organ concertos and Johann Sebastian Bach's harpsichord concertos, were written around the same time.

In the second half of the 18th century, the piano became the most used keyboard instrument, and composers of the Classical Era such as Joseph Haydn, Wolfgang Amadeus Mozart and Ludwig van Beethoven each wrote several piano concertos, and, to a lesser extent, violin concertos, and concertos for other instruments. In the Romantic Era, many composers, including Niccolò Paganini, Felix Mendelssohn, Frédéric Chopin, Robert Schumann, Johannes Brahms, Pyotr Ilyich Tchaikovsky and Sergei Rachmaninoff, continued to write solo concertos, and, more exceptionally, concertos for more than one instrument; 19th century concertos for instruments other than the piano, violin and cello remained comparatively rare however. In the first half of the 20th century, concertos were written by, among others, Maurice Ravel, Edward Elgar, Richard Strauss, Sergei Prokofiev, George Gershwin, Heitor Villa-Lobos, Joaquín Rodrigo and Béla Bartók, the latter also composing a concerto for orchestra, that is without soloist. During the 20th century concertos appeared by major composers for orchestral instruments which had been neglected in the 19th century such as the clarinet, viola and French horn.

In the second half of the 20th century and onwards into the 21st a great many composers have continued to write concertos, including Alfred Schnittke, György Ligeti, Dimitri Shostakovich, Philip Glass and James MacMillan among many others. An interesting feature of this period is the proliferation of concerti for less usual instruments, including orchestral ones such as the double bass (by composers like Eduard Tubin or Peter Maxwell Davies) and cor anglais (like those by MacMillan and Aaron Jay Kernis), but also folk instruments (such as Tubin's concerto for Balalaika, Serry's Concerto in C Major for Bassetti Accordion,{{cite web|url=https://cocatalog.loc.gov/cgi-bin/Pwebrecon.cgi?v1=12&ti=1,12&Search%5FArg=Serry&Search%5FCode=NALL&CNT=25&PID=qtoCDJJcISkF-Y5Tnolj9EU37&SEQ=20180726172131&SID=7 |title=The Library of Congress Copyright Office - Public Catalog 1978 - Present, "Concerto in C major for Free Bass Accordion" (Revised for Piano), Composer: John Serry Sr.|date=2002|quotation=Copyright # PAU 3-336-024|website=Cocatalog.loc.gov}}[https://www.esm.rochester.edu/sibley/files/John-J-Serry-Sr-Collection.pdf Eastman School of Music - University of Rochester - Sibley Music Library: John J. Serry Sr. Collection score "Concetro in C Major (1967) for Free Bass Accordion " Folder 15 & 16 p. 10 archived at the University of Rochester Eastman School of Music Sibley Music Library Special collections on esm.rochester.edu] or the concertos for Harmonica by Villa-Lobos and Malcolm Arnold), and even Deep Purple's Concerto for Group and Orchestra, a concerto for a rock band.

Concertos from previous ages have remained a conspicuous part of the repertoire for concert performances and recordings. Less common has been the previously common practice of the composition of concertos by a performer to be performed personally, though the practice has continued via certain composer-performers such as Daniil Trifonov.

Genre

The Italian word concerto, meaning accord or gathering, derives from the Latin verb concertare, which indicates a competition or battle.{{sfn|Wörner|1993|p=[https://books.google.com/books?id=GKJbNkkZZOoC&pg=PA193 193]}}

=Baroque Era=

{{See also|Concerto (Bach)}}

Compositions were for the first time indicated as concertos in the title of a music print when the {{ill|Concerti (Gabrieli)|scores|Concerti (Gabrieli, Andrea)|lt=Concerti by Andrea and Giovanni Gabrieli}} were published in 1587.{{sfn|Wörner|1993|p=[https://books.google.com/books?id=GKJbNkkZZOoC&pg=PA193 193]}}

==Concerto as a genre of vocal music==

{{See also|Sacred concerto}}

In the 17th century, sacred works for voices and orchestra were typically called concertos, as reflected by J. S. Bach's usage of the title "concerto" for many of the works that are now known as cantatas.{{sfn|Wolf|1986|p=[https://archive.org/details/newharvarddictio00rand/page/186 186]}}{{sfn|Tovey|1911|p=825}} The term "concerto" was initially used to denote works that involved voices and instruments in which the instruments had independent parts—as opposed to the Renaissance common practice in which instruments that accompanied voices only doubled the voice parts.{{sfn|Talbot|2005}} Examples of this earlier form of concerto include Giovanni Gabrieli's "In Ecclesiis" or Heinrich Schütz's "Saul, Saul, was verfolgst du mich".{{Cite web |last=Duffy |first=Martin |date=2014-06-09 |title=Australian Chamber Choir fills church with uplifting sacred music |url=https://www.smh.com.au/entertainment/music/australian-chamber-choir-fills-church-with-uplifting-sacred-music-20140609-zs1if.html |access-date=2024-03-27 |website=The Sydney Morning Herald |language=en}}

==Instrumental concerto==

{{See also|Ripieno concerto|List of concertos by Christoph Graupner}}

The concerto began to take its modern shape in the late-Baroque period, beginning with the concerto grosso form developed by Arcangelo Corelli. Corelli's concertino group was two violins, a cello and basso continuo.{{Cite book |last=Roeder |first=Michael Thomas |url=https://www.worldcat.org/oclc/27070961 |title=A history of the concerto |date=1994 |publisher=Amadeus Press |isbn=0-931340-61-6 |location=Portland, Or. |oclc=27070961}} In J. S. Bach's Fifth Brandenburg Concerto, for example, the concertino is a flute, a violin, and a harpsichord; although the harpsichord is a featured solo instrument, it also sometimes plays with the ripieno, functioning as a continuo keyboard accompaniment.{{sfn|Steinberg|2000|p=[https://books.google.com/books?id=t8oXNX2tY8AC&pg=PA14 14]}}

Later, the concerto approached its modern form, in which the concertino usually reduces to a single solo instrument playing with (or against) an orchestra. The main composers of concertos of the baroque were Tommaso Albinoni, Antonio Vivaldi (e.g., published in L'estro armonico, La stravaganza, Six Violin Concertos, Op. 6, Twelve Concertos, Op. 7, Il cimento dell'armonia e dell'inventione, Six Flute Concertos, Op. 10, Six Concertos, Op. 11 and Six Violin Concertos, Op. 12), Georg Philipp Telemann, Johann Sebastian Bach,{{sfn|Steinberg|2000}} George Frideric Handel, Pietro Locatelli, Jean-Marie Leclair, 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).{{citation needed|date=April 2021}}

The Baroque concerto was mainly for a string instrument (violin, viola, cello, seldom viola d'amore or harp) or a wind instrument (flute, recorder, oboe, bassoon, horn, or trumpet,). Bach also wrote a concerto for two violins and orchestra.{{sfn|Steinberg|2000|p=[https://books.google.com/books?id=t8oXNX2tY8AC&pg=PA17 17–19]}} During the Baroque period, before the invention of the piano, keyboard concertos were comparatively rare, with the exception of the twelve organ concertos by George Frideric Handel and the thirteen harpsichord concertos by Johann Sebastian Bach.{{Cite web|title=History of the Concerto {{!}} Music Appreciation|url=https://courses.lumenlearning.com/musicapp_historical/chapter/73/|url-status=live|access-date=2021-07-21|website=courses.lumenlearning.com|archive-url=https://web.archive.org/web/20170616075052/https://courses.lumenlearning.com/musicapp_historical/chapter/73/ |archive-date=2017-06-16 }}

=Classical era=

{{more citations needed|section|date=April 2021}}

{{See also|List of concertos by Joseph Haydn|Piano concertos by Wolfgang Amadeus Mozart}}

Image:Classical concerto sonata form.png, cadenza, and coda. For exposition, development and recapitulation, see sonata form.]]

The concertos of the sons of Johann Sebastian Bach, such as C. P. E. Bach, are perhaps the best links between those of the Baroque period and those of the Classical era. It is conventional to state that the first movements of concertos from the Classical period onwards follow the structure of sonata form. Final movements are often in rondo form, as in J.S. Bach's E Major Violin Concerto.{{sfn|White|1976}}

Mozart wrote five violin concertos, all in 1775, except the first in 1773.{{sfn|White|1972}} They show a number of influences, notably Italian and Austrian. Several passages have leanings towards folk music, as manifested in Austrian serenades. Mozart also wrote the Sinfonia Concertante for violin, viola and orchestra. Haydn wrote three concertos for violin and above all two for cello. Beethoven wrote only one violin concerto that remained obscure until revealed as a masterpiece in a performance by violin virtuoso Joseph Joachim on 27 May 1844.{{sfn|Stowell|2009}}

C.P.E. Bach's keyboard concertos contain some virtuosic solo writing. Some of them have movements that run into one another without a break, and there are frequent cross-movement thematic references.{{sfn|Erlebach|1936}} Mozart, as a child, made arrangements for keyboard and orchestra of four sonatas by now little-known composers. Then he arranged 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. Of his 27 piano concertos, the last 17 are highly appreciated.{{sfn|McClary|1986}} Eleven cataloged keyboard concertos are attributed to Haydn, of which seven are considered genuine.{{sfn|Threasher|2013}} Beethoven wrote five concertos for piano and orchestra.

C. P. E. Bach wrote five flute concertos and two oboe concertos. Mozart wrote four horn concertos, two for flute, one for oboe (later rearranged for flute and known as Flute Concerto No. 2), one for clarinet, one for bassoon, one for flute and harp, and Exsultate, jubilate, a de facto concerto for soprano voice.{{sfn|Paumgartner|2010}} They all exploit and explore the characteristics of the solo instrument(s). Haydn wrote an important trumpet concerto and a Sinfonia Concertante for violin, cello, oboe, bassoon and orchestra, as well as one horn concerto. Haydn also wrote a concerto for double bass but has since been lost to history in the great fire of Esterhaza in 1779.

=Romantic era=

{{unreferenced section|date=April 2021}}

In the 19th century, the concerto as a vehicle for virtuosic display flourished, and concertos became increasingly complex and ambitious works. Whilst performances of typical concertos in the baroque era lasted about ten minutes, those by Beethoven could last half an hour or longer. The term concertino, or the German Konzertstuck ("Concert Piece") began to be used to designate smaller pieces not considered large enough to be considered a full concerto, though the distinction has never been formalised and many Concertinos are still longer than the original Baroque concertos.

During the Romantic era the cello became increasingly used as a concerto instrument; though the violin and piano remained the most frequently used. Beethoven contributed to the repertoire of concertos for more than one soloist 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.

File:A performance of a piano concerto.jpg

=20th and 21st century=

{{more citations needed|section|date=April 2021}}

Many of the concertos written in the early 20th century belong more to the late Romantic school, hence 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 that 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 and neotonality, 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 that included new and extended instrumental techniques and a focus on previously neglected aspects of sound such as pitch, timbre and dynamics. In some cases, they also brought about a new approach to the role of soloists and their relation to the orchestra.

Two great innovators of early 20th-century music, Schoenberg and Stravinsky, both wrote violin concertos. The material in Schoenberg's concerto, like that in Berg's, is linked by the twelve-tone serial method. In the 20th century, particularly after the Second World War, the cello enjoyed an unprecedented popularity. As a result, its concertante repertoire caught up with those of the piano and the violin both in terms of quantity and quality.

The 20th century also witnessed a growth of the concertante repertoire of instruments, some of which had seldom or never been used in this capacity, and even a concerto for wordless coloratura soprano by Reinhold Glière.{{sfn|Eggink|Brown|2004}} As a result, almost all classical instruments now have a concertante repertoire. Among the works of the prolific composer Alan Hovhaness may be noted Prayer of St. Gregory for trumpet and strings, though it is not a concerto in the usual sense of the term. In the later 20th century the concerto tradition was continued by composers such as Maxwell Davies, whose series of Strathclyde Concertos exploit some of the instruments less familiar as soloists.

In addition, the 20th century gave rise to several composers who experimented further by showcasing a variety of nontraditional orchestral instruments within the center of the orthodox concerto form. Included within this group are: Paul Hindemith (Concerto for Trautonium and String Orchestra in 1931),{{cite book | last=Holmes | first=Thom | title=Electronic and Experimental Music | publisher=New York : Routledge | publication-place=New York | date=2002 | isbn=978-0-415-93643-9 | page=66-67 | url = https://books.google.com/books?id=ILkquoGXEq0C&pg=PA66}} Andre Jolivet (Concerto of Ondes Martenot in 1947),{{cite book | last=Roeder | first=Michael Thomas | title=A History of the Concerto | publisher=Hal Leonard Corporation | publication-place=Portland, Or | date=1994 | isbn=978-0-931340-61-1 | page=397 | url = https://books.google.com/books?id=mutaps6xlIIC&pg=PA397}} Heitor Villa-Lobos (Concerto for Harmonica in 1956),{{cite book | last=Krampert | first=Peter | title=The Encyclopedia of the Harmonica | publisher=Mel Bay Publications | date=2016-03-23 | isbn=978-1-61911-577-4 | page=178 | url = https://books.google.com/books?id=YRsxDwAAQBAJ&pg=PA178 }}{{cite book | last=Roeder | first=Michael Thomas | title=A History of the Concerto | publisher=Hal Leonard Corporation | publication-place=Portland, Or | date=1994 | isbn=978-0-931340-61-1 | page=410 | url = https://books.google.com/books?id=mutaps6xlIIC&pg=PA410}} John Serry Sr. (Concerto in C Major for Bassetti Accordion in 1966),{{cite web|url=https://publicrecords.copyright.gov/detailed-record/voyager_21992857 |title=The Library of Congress Copyright Office - Public Catalog 1978 - Present, "Concerto in C major for Free Bass Accordion" (Revised for Piano), Composer: John Serry Sr.|date=2002|quotation=Copyright # PAU 3-336-024|website=Cocatalog.loc.gov}}{{cite web | title=John J. Serry, Sr., Collection | url=https://www.esm.rochester.edu/sibley/files/John-J-Serry-Sr-Collection.pdf | publisher = Eastman School of Music - University of Rochester - Sibley Music Library }} "Concerto in C Major (1967) for Free Bass Accordion " Folder 15 & 16 p. 10 Astor Piazzolla (Concerto for Bandoneon, String Orchestra and Percussion, "Aconcagua" in 1979),{{cite book | last=Broughton | first=Simon | last2=Ellingham | first2=Mark | last3=Trillo | first3=Richard | title=World Music: Latin and North America, Caribbean, India, Asia and Pacific | publisher=Rough Guides | publication-place=London | date=2000 | isbn=978-1-85828-636-5 | page=309 | url = https://books.google.com/books?id=QzX8THIgRjUC&pg=PA309}} Peter Maxwell Davies (Concerto for Piccolo and Orchestra, Op. 182 in 1996),{{cite book | last=Craggs | first=Stewart R. | title=Peter Maxwell Davies | publisher=Routledge | publication-place=Milton | date=2017-07-12 | isbn=978-1-351-76502-2 | url = https://books.google.com/books?id=TyIuDwAAQBAJ&pg=PA1997-IA1}}{{cite book | last=Davies | first=Peter Maxwell | title=Peter Maxwell Davies, Selected Writings | publisher=Cambridge University Press | date=2017-11-09 | isbn=978-1-108-50074-6 | page=124 | url = https://books.google.com/books?id=P1M6DwAAQBAJ&pg=PA124}} and Tan Dun (Concerto for Water Percussion and Orchestra in 1998){{cite book | last=Sheinberg | first=Esti | last2=Dougherty | first2=William P. | title=The Routledge Handbook of Music Signification | publisher=Routledge | publication-place=Abingdon, Oxon New York | date=2020-03-17 | isbn=978-1-351-23751-2 | url = https://books.google.com/books?id=3CrXDwAAQBAJ&pg=PT281}}[https://www.classical-music.com/features/works/10-of-the-best-concertos-for-unusual-instruments Classical Music "10 of the Best Concertos for Unusual Instruments"] BBC Music Magazine 27 Feb. 2024

Other composers of this era adopted a neoclassical rejection of specific features which typically characterized the concerto form during the Baroque or Romantic periods. Several of them achieved this objective by incorporating various musical elements from the realm of jazz within the structure of the concerto. Included in this group were: Aaron Copland (Concerto for Piano, 1926), Maurice Ravel (Concerto for the Left Hand, 1929), Igor Stravinsky (Ebony Concerto for clarinet and jazz band, 1945) and George Gershwin (Concerto in F, 1925).{{cite book | last=Apel | first=Willi | title=Harvard Dictionary of Music | publisher=Harvard University Press | publication-place=Cambridge, Mass | date=1969 | isbn=978-0-674-37501-7 | page= 202 | url = https://books.google.com/books?id=02rFSecPhEsC&pg=PA202 }} Still others called upon the orchestra itself to function as the primary virtuosic force within the concerto form. This approach was adopted by Bela Bartok in his Concerto for Orchestra as well by other composers of the period including: Walter Piston (1933), Zoltan Kodaly (1939), Michael Tippet (1962) and Elliott Carter (1969).

Concertos with concert band include:

  • Bryant – 2007–2010{{relevance inline|date=April 2021}}
  • Foss – 2002{{relevance inline|date=April 2021}}
  • Husa – 1982{{sfn|Burns|2000}}
  • Jacob – 1974{{relevance inline|date=April 2021}}
  • Jager – 1982{{relevance inline|date=April 2021}}

By type

=Vocal concerto=

{{See also|Chorale concerto|Hymn concertato}}

20th century:

=Without orchestra=

==Single solo instrument==

{{See also|Concerto for solo piano}}

Baroque era:

20th century:

  • Serry's Concerto In C Major For Free Bass Accordion{{cite web|url=https://cocatalog.loc.gov/cgi-bin/Pwebrecon.cgi?v1=12&ti=1,12&Search%5FArg=Serry&Search%5FCode=NALL&CNT=25&PID=qtoCDJJcISkF-Y5Tnolj9EU37&SEQ=20180726172131&SID=7 |title=The Library of Congress Copyright Office - Public Catalog 1978 - Present, "Concerto in C major for Free Bass Accordion" (Revised for Piano), Composer: John Serry Sr.|date=2002|quotation=Copyright # PAU 3-336-024|website=Cocatalog.loc.gov}}

==Multiple instruments==

Baroque era:

20th century:

=For one instrumental soloist and orchestra=

{{Main|Solo concerto}}

==For bowed string instrument and orchestra==

===Violin concerto===

{{more citations needed|section|date=April 2021}}

{{Main|Violin concerto}}

Baroque era:

Classical era:

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.{{sfn|Brown|1984}}

20th century:

21st century:

===Viola concerto===

{{Main|Viola concerto}}

Baroque era:

Classical era:

20th century:

===Cello concerto===

{{more citations needed|section|date=April 2021}}

{{Main|Cello concerto}}

The 'core' repertoire—performed the most of any cello concertos—are by Elgar, Dvořák, Saint-Saëns, Haydn, Shostakovich and Schumann, but many more concertos are performed nearly as often.

Baroque era:

  • Vivaldi's cello concertos RV 398–403, 405–414 and 416–424

Classical era:

  • Haydn wrote two cello concertos (for cello, oboes, horns, and strings), which are the most important works in that genre of the classical era.{{sfn|Cuming|1949}}
  • Carl Philipp Emanuel Bach wrote three cello concertos and Luigi Boccherini wrote twelve cello concertos.{{sfn|Kory|2005}}

Romantic era:

20th century:

===Double bass concerto===

{{Main|Double bass concerto}}

20th century:

===Other bowed string instruments===

20th century:

  • Viola d'amore concerto: Hindemith{{Cite web |title=Kammermusik No.6, Op.46 No.1 (Hindemith, Paul) - IMSLP |url=https://imslp.org/wiki/Kammermusik_No.6,_Op.46_No.1_(Hindemith,_Paul) |access-date=2024-03-27 |website=imslp.org}}

==For plucked string instrument and orchestra==

===Harp concerto===

{{See also|Harp concerto|List of compositions for harp#Concertos}}

Baroque era:

  • Handel's Harp Concerto, HWV 294 (a.k.a. {{ill|Concerto for harp or organ and orchestra, HWV 294|scores|Organ Concerto in B-flat major, HWV 294 (Handel, George Frideric)|lt=Op. 4 No. 6}}){{RISM|804002418}}; {{RISM|806930798}}; {{RISM|806549610}}.

Classical era:

  • Wolfgang Amadeus Mozart: Concerto for Flute, Harp, and Orchestra
  • Jean-Baptiste Krumpholz: Harp Concertos {{ill|Harp Concerto No. 5 (Krumpholz)|scores|Harp Concerto No.5, Op.7 (Krumpholz, Jean-Baptiste)|lt=Op. 7}} and {{ill|Harp Concerto No. 6 (Krumpholz)|scores|Harp Concerto No.6, Op.9 (Krumpholz, Jean-Baptiste)|lt=Op. 9}}
  • Francesco Petrini: Harp Concertos {{ill|Harp Concerto No. 1 (Petrini)|scores|Harp Concerto No.1, Op.25 (Petrini, Francesco)|lt=Op. 25}}, {{ill|Harp Concerto No. 2 (Petrini)|scores|Harp Concerto No.3, Op.27 (Petrini, Francesco)|lt=Op. 27}} and {{ill|Harp Concerto No. 4 (Petrini)|scores|Harp Concerto No.4, Op.29 (Petrini, Francesco)|lt=Op. 29}}
  • Ernst Eichner's {{ill|Harp Concerto in D major, Op. 9 (Eichner)|scores|Harp Concerto in D major, Op.9 (Eichner, Ernst)|lt=Harp Concerto in D major, Op. 9}}
  • Jan Ladislav Dussek: Harp Concertos {{ill|Harp Concerto, Op. 15 (Dussek)|scores|Harp Concerto, Op.15 (Dussek, Jan Ladislav)|lt=Op. 15}}, {{ill|Harp Concerto, Op. 30 (Dussek)|scores|Harp Concerto, Op.30 (Dussek, Jan Ladislav)|lt=Op. 30}} and {{ill|Harp Concerto in B-flat major (Dussek)|scores|Harp Concerto, C.264 (Dussek, Jan Ladislav)|lt=Craw 264}}
  • François-Adrien Boieldieu's {{ill|Harp Concerto in C major (Boieldieu)|scores|Harp Concerto in C major (Boieldieu, François Adrien)|lt=Harp Concerto in C major}}Hurwitz, David. [https://www.classicstoday.com/review/review-16115/ "Harp Concertos SACD"] at Classics Today website.

Romantic era:

  • Nicolas-Charles Bochsa: Harp Concertos {{ill|Harp Concerto, Op. 15 No. 1 (Bochsa)|scores|Harp Concerto, Op.15 No.1 (Bochsa, Nicholas Charles)|lt=Op. 15 No. 1}} and {{ill|Harp Concerto, Op. 295 (Bochsa)|scores|Harp Concerto, Op.295 (Bochsa, Nicholas Charles)|lt=Op. 295}}
  • Elias Parish Alvars: Harp Concertos {{ill|Harp Concerto in G minor, Op. 81 (Parish Alvars)|scores|Harp Concerto in G minor, Op.81 (Parish-Alvars, Elias)|lt=Op. 81}} and {{ill|Harp Concerto, Op. 98 (Parish Alvars)|scores|Harp Concerto, Op.98 (Parish-Alvars, Elias)|lt=Op. 98}}
  • Carl Reinecke's {{ill|Harp Concerto, Op. 182 (Reinecke)|scores|Harp Concerto, Op.182 (Reinecke, Carl)|lt=Harp Concerto, Op. 182}}
  • John Thomas's {{ill|Harp Concerto No. 1 (Thomas)|scores|Harp Concerto No.1 in B-flat major (Thomas, John)|lt=Harp Concerto No. 1}}
  • Henriette Renié's {{ill|Harp Concerto (Renié)|scores|Harp Concerto (Renié, Henriette)|lt=Harp Concerto in C minor}}

20th century:

  • Reinhold Glière's Harp Concerto[https://www.alicegiles.com/recordings-1/harp-concertos Harp Concertos: Ginastera / Jolivet / Glière] at Alice Giles website
  • Joseph Jongen's Harp ConcertoRiedstra, Siebe (January 2015). [https://www.opusklassiek.nl/cd-recensies/cd-sr/srlenaerts01.htm "CD-recensie: Anneleen Lenaerts - Harpconcerten"] {{in lang|nl}} at OpusKlassiek website.[https://www.prestomusic.com/classical/products/8345392--jongen-harp-concerto Jongen: Harp Concerto] at Presto Classical website.
  • Joaquín Rodrigo's Concierto serenata
  • André Jolivet's Concerto for Harp and Chamber Orchestra (1952)[https://www.prestomusic.com/classical/works/92611--jolivet-concerto-for-harp-and-chamber-orchestra-1952/browse Concerto for Harp and Chamber Orchestra (1952)] at Presto Classical website.
  • Darius Milhaud's Harp Concerto, Op. 323 (1953)Headington, Christopher (February 1993). [https://www.gramophone.co.uk/review/milhaud-orchestral-works-0 Review: Milhaud Orchestral Works] in Gramophone[https://www.prestomusic.com/classical/works/243229--milhaud-harp-concerto-op-323/browse Milhaud - Harp Concerto, Op. 323] at Presto Classical website.
  • Heitor Villa-Lobos's Harp Concerto
  • Alberto Ginastera's Harp Concerto
  • Einojuhani Rautavaara's Harp Concerto (2000)Robinson, Paul (20 January 2019). [https://classicalvoiceamerica.org/2019/01/20/ondine-celebrates-rautavaara-anniversary/ "Two Major Late Works Continue Rautavaara Survey"] at Classical Voice North America website.Hurwitz, David (12 May 2001). [https://www.classicstoday.com/review/review-7039/ Rautavaara: Symphony No. 8; Harp concerto] at Classics Today website.

===Mandolin concerto===

{{See also|Mandolin#Concerto}}

Baroque era:

20th century:

  • Thile, Dorman{{Cite web |title=Chris Thile's New Mandolin Concerto Is a Romp Through the Record Industry |url=https://www.sfcv.org/articles/review/chris-thiles-new-mandolin-concerto-romp-through-record-industry |access-date=2024-03-27 |website=www.sfcv.org |language=en}}{{Cite web |title=Mandolin Concerto {{!}} Avner Dorman |url=https://www.wisemusicclassical.com/work/35672/Mandolin-Concerto--Avner-Dorman/ |access-date=2024-03-27 |website=www.wisemusicclassical.com |language=en}}

===Guitar concerto===

20th century:

===Other plucked string instruments===

Baroque era:

20th century:

  • Kanun Concerto: Alnar{{Cite web |title=American Premiere: Tahir Aydoğdu performs Hasan Ferid Alnar's Kanun Concerto |url=https://liberalarts.utexas.edu/events/american-premiere-tahir-aydogdu-performs-hasan-ferid-alnar-s-kanun-concerto |access-date=2024-03-27 |website=liberalarts.utexas.edu |language=en}}

==For woodwind instrument and orchestra==

===Flute concerto===

{{Main|Flute concerto}}

Baroque era:

Classical era:

20th century:

  • Western concert flute Concerto: Aho, Arnold, Chaminade, Corigliano, Davies, Denisov, Dusapin, Harman, Hétu, Ibert, Jolivet, Landowski, Nielsen, Penderecki, Piston, Rautavaara, Rodrigo, Takemitsu, J. Williams{{citation needed|date=April 2021}}
  • Contrabass flute Concerto: McGowan{{cite web |title=Ned McGowan: Concerto for Contrabass flute | website=YouTube | date=3 April 2022 |url=https://www.youtube.com/watch?v=yacd0fqMcz8 |access-date=February 14, 2025}}{{relevance inline|date=April 2021}}
  • Piccolo Concerto: Davies,{{Cite web |title=Peter Maxwell Davies: Piccolo Concerto: Piccolo |url=https://www.musicroom.com/peter-maxwell-davies-piccolo-concerto-piccolo-musch61499 |access-date=2022-04-18 |website=www.musicroom.com |language=en}} Liebermann{{Cite web |title=Op.50 Concerto for Piccolo and Orchestra |url=https://www.lowellliebermann.com/op50-concerto-for-piccolo-and-orchestra |access-date=2022-04-18 |website=LOWELL LIEBERMANN |language=en-US}}
  • Recorder concerto: Malcolm Arnold, Richard Harvey{{Cite web |title=English recorder concertos [sound recording]/Richard Harvey; Malcolm Arnold; Gordon Jacob. – National Library |url=https://www.nlb.gov.sg/biblio/14332489 |access-date=2022-10-14 |website=www.nlb.gov.sg}}
  • Shakuhachi Concerto: Takemitsu{{Cite web |title=Takemitsu and Tanaka |url=https://www.yourclassical.org/episode/2017/11/09/takemitsu-and-tanaka |access-date=2022-10-14 |website=www.yourclassical.org |date=9 November 2017 |language=en}}

===Oboe concerto===

{{Main|Oboe concerto}}

Baroque era:

Classical era:

Romantic era:

20th century:

===English horn===

{{See also|List of concertos for English horn}}

20th century:

===Bassoon concerto===

{{Main|Bassoon concerto}}

20th century:

===Clarinet concerto===

{{Main|Clarinet concerto}}

20th century:

21st century:

===Saxophone concerto===

{{See also|List of concert works for saxophone}}

20th century:

===Other woodwind instruments===

20th century:

==For brass instrument and orchestra==

===Trumpet concerto===

{{Main|Trumpet concerto}}

20th century:

===Horn concerto===

Classical era:

  • Bohemian composer Francesco Antonio Rosetti composed several solo and double horn concertos. He was a significant contributor to the genre of horn concertos in the 18th century. Most of his outstanding horn concertos were composed between 1782 and 1789 for the Bohemian duo Franz Zwierzina and Joseph Nage while at the Bavarian court of Oettingen-Wallerstein. One of his best-known works in this genre is his Horn Concerto in E flat major C49/K III:36. It consists of three movements: 1. Allegro moderato 2. Romance 3. Rondo. Many common features of the galant style are present in Rosetti's music and composing style. In his E-flat horn concerto, we hear periodic and short phrases, galant harmonic rhythm and melodic line reduction.{{sfn|Holman|2004}} Rosetti's influence on the 18th century composers, musicians and music was considerable. At the Bavarian court of Oettingen-Wallerstein, his music was often performed by the Wallerstein ensembles. In Paris, his compositions were performed by the best ensembles of the city, including the orchestra of the Concert Spirituel. His publishers were Le Menu et Boyer and Sieber. According to H. C. Robbins Landon (Mozart scholar),{{sfn|Kearns|1997}} Rosetti's horn concertos might have been a model for Mozart's horn concertos.{{sfn|Sadler|1975}}{{relevance inline|date=April 2021}}

20th century:

===Trombone concerto===

{{Main|Trombone concerto}}

20th century:

===Other brass instruments===

20th century:

==Keyboard concerto==

{{Main|Keyboard concerto}}

===Harpsichord concerto===

{{Main|Harpsichord concerto}}

Baroque era:

20th century:

===Organ concerto===

{{Main|Organ concerto}}

Baroque era:

20th century:

===Piano concerto===

{{more citations needed|section|date=April 2021}}

{{Main|Piano concerto}}

Classical era:

Romantic era:

  • Beethoven's five piano concertos increase the technical demands made on the soloist. The last two are particularly remarkable, integrating the concerto into a large symphonic structure with movements that frequently run into one another. His Piano Concerto No. 4 starts with a statement by the piano, after which the orchestra enters in a foreign key, to present what would normally be the opening tutti. The work has a lyrical character. The slow movement is a dramatic dialogue between the soloist and the orchestra. His Piano Concerto No. 5 has the basic rhythm of a Viennese military march. There is no lyrical second subject, but in its place a continuous development of the opening material.{{sfn|Hopkins|2019}}
  • The piano concertos of Cramer, Field, Düssek, Woelfl, Ries, and Hummel provide a link from the Classical concerto to the Romantic concerto.
  • Chopin wrote two piano concertos in which the orchestra is relegated to an accompanying role. Schumann, despite being a pianist-composer, wrote a piano concerto in which virtuosity is never allowed to eclipse the essential lyrical quality of the work. The gentle, expressive melody heard at the beginning on woodwind and horns (after the piano's heralding introductory chords) bears the material for most of the argument in the first movement. In fact, argument in the traditional developmental sense is replaced by a kind of variation technique in which soloist and orchestra interweave their ideas.{{sfn|Hopkins|2019|pp=83–85}}
  • 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.[https://courses.lumenlearning.com/musicapp_historical/chapter/73/ History of the Concerto]{{unreliable source?|date=April 2021}}
  • Grieg's concerto likewise begins in a striking manner after which it continues in a lyrical vein.{{sfn|Kijas|2013}}
  • Saint-Saëns wrote five piano concertos and orchestra between 1858 and 1896, in a classical vein.
  • Brahms's First Piano Concerto in D minor (pub 1861) was the result of an immense amount of work on a mass of material originally intended for a symphony. His Second Piano Concerto in B{{Music|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.{{sfn|Lihua|2018}} But Sergei Rachmaninoff wrote four piano concertos between 1891 and 1926. His Second and Third, being the most popular of the four, went on to become among the most famous in the piano repertoire.{{sfn|Bertensson|2001}}
  • Other romantic piano concertos, like those by Kalkbrenner, Henri Herz, Moscheles and Thalberg were also very popular in the Romantic era, but not today.{{sfn|Lihua|2018}}

20th century:

===Accordion concerto===

{{Main|Accordion concerto}}

20th century:

  • Accordion concerto: Hovhaness, Sofia Gubaidulina, Toshio Hosokawa, Kalevi Aho{{citation needed|date=April 2021}}
  • Free bass accordion Concerto: John Serry Sr.[https://books.google.com/books?id=N0chAQAAIAAJ&dq=Catalog+of+Copyright+Entries+John+Serry+1968&pg=PA1626 Library of Congress Copyright Office - Catalog of Copyright Entries: Third Series Music July-December 1968, Vol. 22, Part 5, Number 2, Section 1, published 1970, p. 1626 "Concerto in C Major for Bassetti Accordion" Op. 1 John Serry 1968, Solo Arrangement Jan. 1, 1968 No. EP247602'' on https://books.google.com]

===Other keyboard instruments===

20th century:

  • Bandoneón Concerto: Piazzolla{{Cite news |last=Clements |first=Andrew |date=2010-09-23 |title=Piazzolla: Sinfonia Buenos Aires; Concerto for Bandoneon; Las Cuatro Estaciones Porteñas |url=https://www.theguardian.com/music/2010/sep/23/piazzolla-sinfonia-buenos-aires-cd-review |access-date=2024-03-31 |work=The Guardian |language=en-GB |issn=0261-3077}}
  • Clavinet concerto: Woolf{{citation needed|date=April 2021}}{{relevance inline|date=April 2021}}
  • Yamaha GX-1: Akutagawa{{citation needed|date=April 2021}}{{relevance inline|date=April 2021}}

==Other instrumental soloist==

===Percussion instrument===

{{Main|Percussion concerto}}

20th century:

===Free reed aerophone===

{{See also|Harmonica concerto}}

20th century:

===Electronic musical instrument===

20th century:

  • Ondes Martenot concerto: Jolivet, Rozsa{{Cite web |title=10 of the best concertos for unusual instruments |url=https://www.classical-music.com/features/works/10-of-the-best-concertos-for-unusual-instruments |access-date=2024-03-27 |website=www.classical-music.com |date=27 February 2024 |language=en}}
  • Theremin concerto: Aho{{Cite web |date=2022-09-03 |title=Proms 2022: BBC Philharmonic; Shostakovich's Last Symphony and a Concerto for Theremin |url=https://www.abc.net.au/listen/programs/lunchtime-concert/bbc-philharmonic-shostakovich-symphony-theremin-concerto/14027580 |access-date=2024-03-27 |website=ABC listen |language=en-AU}}

=For multiple instruments and orchestra=

{{unreferenced section|date=April 2021}}

In the Baroque era, two violins and one cello formed the standard concertino of a concerto grosso. In the classical era, the sinfonia concertante replaced the concerto grosso genre, although concertos for two or three soloists were still composed too. From the Romantic era works for multiple instrumental soloists and orchestra were again commonly called concerto.

==Two soloists==

{{Main|double concerto}}

Baroque era:

Classical era:

Romantic era:

20th century:

==Three soloists==

{{Main|triple concerto}}

Baroque era:

Classical era:

Romantic era:

21st century:

==Four or more soloists==

Baroque era:

20th century:

=Concerto for orchestra=

{{more citations needed|section|date=April 2021}}

{{Main|Concerto for Orchestra}}

==Symphonic orchestra==

In the 20th and 21st centuries, several composers wrote concertos for orchestra. In these works, different sections and/or instruments of the orchestra or concert band are treated at one point or another as soloists with emphasis on solo sections and/or instruments changing during the piece. Some examples include those written by:

  • Hindemith – Op. 38, 1925
  • Kodály – 1940
  • Bartók – Concerto for Orchestra – 1945
  • Lutoslawski – Concerto for Orchestra – 1954
  • Shchedrin
  • No. 1 Naughty Limericks (1963){{relevance inline|date=April 2021}}
  • No. 2 The Chimes (1968){{relevance inline|date=April 2021}}
  • No. 3 Old Russian Circus Music (1989){{relevance inline|date=April 2021}}
  • No. 4 Round Dances (Khorovody) (1989){{relevance inline|date=April 2021}}
  • No. 5 Four Russian Songs (1998){{relevance inline|date=April 2021}}
  • Carter – 1969
  • Knussen – 1969
  • Lindberg – 2003{{relevance inline|date=April 2021}}

Dutilleux has also described his Métaboles as a concerto for orchestra.{{relevance inline|date=April 2021}}

==Chamber orchestra or string orchestra==

Baroque era:

20th century:

==More than one orchestra==

Baroque era:

  • {{ill|Concerto a due cori|scores|Concerti a due Cori, HWV 332-334 (Handel, George Frideric)|lt=Handel's Concerti a due cori}}, HWV 332–334[https://www.harmoniamundi.com/#!/albums/2318 George Frideric Handel 1685-1759: Concerti a due cori, HWV 332, HWV 333, HWV 334] at Harmonia Mundi website.

20th century:

References

{{Reflist}}

Sources

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  • {{cite book |last1=Bovermann |first1=Till |title=MUSICAL INSTRUMENTS IN THE 21ST CENTURY : identities, configurations. |date=2018 |publisher=Springer |isbn=978-981-10-9748-5 |pages=264–270}}
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  • {{cite thesis |last1=Burns |first1=Kevin |title=Karel Husa's Concerto for Alto Saxophone and Concert Band: a Performer's Analysis. |type=DMA dissertation |date=2000 |publisher=Louisiana State University and Agricultural & Mechanical College |location=Louisiana |pages=1–69 |doi=10.31390/gradschool_disstheses.7245 |s2cid=194618582 |url=https://digitalcommons.lsu.edu/gradschool_disstheses/7245 |doi-access=free }}
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  • {{cite journal |last1=Erlebach |first1=Rupert |title=Style in Pianoforte Concerto Writing |journal=Music & Letters |date=1936 |volume=17 |issue=2 |pages=131–139 |doi=10.1093/ml/XVII.2.131 |jstor=728791 |url=https://www.jstor.org/stable/728791 |access-date=9 April 2021 |issn=0027-4224|url-access=subscription }}
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  • {{cite book |last1=Hopkins |first1=Antony |title=The seven concertos of Beethoven |date=2019 |location=London |isbn=978-0-429-77369-3}}
  • {{cite journal |last1=Kearns |first1=Andrew |title=The Orchestral Serenade in eighteenth-Century Salzburg |journal=Journal of Musicological Research |date=1 January 1997 |volume=16 |issue=3 |pages=163–197 |doi=10.1080/01411899708574730 |url=https://doi.org/10.1080/01411899708574730 |issn=0141-1896|url-access=subscription }}
  • {{cite journal |last1=Kijas |first1=Anna E. |title="A Suitable Soloist for My Piano Concerto": Teresa Carreño as a Promoter of Edvard Grieg's Music |journal=Notes |date=2013 |volume=70 |issue=1 |pages=37–58 |doi=10.1353/not.2013.0121 |jstor=43672696 |s2cid=187606895 |url=https://www.jstor.org/stable/43672696 |issn=0027-4380|url-access=subscription }}
  • {{cite journal |last1=Kory |first1=Agnes |title=Boccherini and the Cello |journal=Early Music |date=November 2005 |volume=33 |issue=4 |page=750 |doi=10.1093/em/cah182 |jstor=3519618 |url=https://www.jstor.org/stable/3519618|url-access=subscription }}
  • {{cite book |last1=Lee |first1=Douglas A. |title=Masterworks of 20th-century music : the modern repertory of the symphony orchestra |date=2002 |publisher=Routledge |location=New York |isbn=978-0-415-93847-1 |pages=387–400 |edition=1}}
  • {{cite thesis |last1=Lihua |first1=Pu |title=Violin Technique in Jenő Hubay's Four Violin Concertos |url=http://hdl.handle.net/2142/99733 |type=Doctoral project paper |publisher=University of Illinois at Urbana-Champaign|language=en |date=2018 |hdl=2142/99733 |via=IDEALS}}
  • {{cite journal |last1=McClary |first1=Susan |title=A Musical Dialectic from the Enlightenment: Mozart's "Piano Concerto in G Major, K. 453", Movement 2 |journal=Cultural Critique |date=1986 |volume=1 |issue=4 |pages=129–169 |doi=10.2307/1354338 |jstor=1354338 |url=https://www.jstor.org/stable/1354338 |access-date=9 April 2021 |issn=0882-4371|url-access=subscription }}
  • {{cite journal |last1=Paumgartner |first1=Bernhard |title=Mozart's Oboe Concerto |journal=Tempo |date=2010 |issue=18 |pages=4–7 |doi=10.1017/S0040298200054565 |s2cid=144679576 |url=https://doi.org/10.1017/S0040298200054565 |language=en |issn=1478-2286|url-access=subscription }}
  • {{cite journal |last1=Peterson |first1=Stephen |last2=Galván |first2=Janet |last3=Stout |first3=Gordon |title=Concert: Commencement Eve |journal=All Concert & Recital Programs |date=13 May 2006 |volume=1 |issue=1 |pages=1–14 |url=https://digitalcommons.ithaca.edu/music_programs/4893 }}
  • {{cite book |last1=Robinson |first1=Harlow |title=Sergei Prokofiev : a biography |date=2002 |publisher=Northeastern University Press |location=Boston |isbn=1-55553-517-8 |pages=256–263}}
  • {{cite journal |last1=Sadler |first1=Graham |title=Rameau's Last Opera: Abaris, ou Les Boréades |journal=The Musical Times |date=1975 |volume=116 |issue=1586 |pages=327–329 |doi=10.2307/960326 |jstor=960326 |url=https://doi.org/10.2307/960326 |issn=0027-4666|url-access=subscription }}
  • {{cite book

|last1 = Steinberg

|first1 = Michael

|author-link1 = Michael Steinberg (music critic)

|date = 2000

|chapter = Johann Sebastian Bach

|chapter-url = https://books.google.com/books?id=t8oXNX2tY8AC&pg=PA11

|title = The Concerto: A Listener's Guide

|url = https://books.google.com/books?id=t8oXNX2tY8AC

|publisher = Oxford University Press

|pages = 11–19

|isbn = 0-19-513931-3

}}

  • {{cite book |last1=Stowell |first1=Robin |title=Beethoven: Violin Concerto |date=2009 |publisher=Cambridge University Press |location=New York |isbn=978-0-521-45159-8 |page=33 |doi=10.1017/CBO9780511605703 |url=https://doi.org/10.1017/CBO9780511605703 }}
  • {{cite book|last=Talbot|first=Michael|chapter=The Italian concerto in the Late seventeenth and early eighteenth centuries|chapter-url=https://books.google.com/books?id=zkS8a2drWVcC&pg=PR12 |title=The Cambridge Companion to the Concerto|series=Cambridge Companions to Music|date=27 October 2005|isbn=978-0-521-83483-4}}
  • {{cite web |url=https://www.gramophone.co.uk/review/haydn-keyboard-concertos-nos-3-4-11 |title=HAYDN Keyboard Concertos Nos 3, 4 & 11 |last=Threasher |first=David |publisher=gramophone.co.uk |date=May 2013 }}
  • {{EB1911 |noprescript=1 |wstitle=Concerto |last1=Tovey |first1=Donald Francis |author-link1=Donald Tovey |pages=825–826 }}
  • {{cite journal |last1=White |first1=Chappell |title=The Violin Concertos of Giornovichi |journal=The Musical Quarterly |date=1972 |volume=58 |issue=1 |page=30 |url=http://www.jstor.com/stable/741171 }}
  • {{cite book

|last1 = White

|first1 = John David

|date = 1976

|title = The Analysis of Music

|publisher = Prentice-Hall

|page = 62

|isbn = 0-13-033233-X

}}

  • {{cite book

|last1 = Wolf

|first1 = Eugene K.

|author-link1 = :d:Q94825204

|date = 1986

|chapter = Concerto

|chapter-url = https://archive.org/details/newharvarddictio00rand/page/186

|editor1-last = Randel

|editor1-first = Don Michael

|editor1-link = Don Michael Randel

|editor2-last = Apel

|editor2-first = Willi

|editor2-link = Willi Apel

|title = The New Harvard Dictionary of Music

|url = https://archive.org/details/newharvarddictio00rand

|publisher = Belknap Press of Harvard University Press

|pages = 186–191

|isbn = 0674615255

}}

  • {{cite book

|last1 = Wörner

|first1 = Karl Heinrich

|display-authors = etal

|date = 1993

|editor1-last = Meierott

|editor1-first = Lenz

|editor1-link = :de:Lenz Meierott

|title = Geschichte der Musik: ein Studien- und Nachschlagebuch

|trans-title = History of Music: A Study and Reference Book

|url = https://books.google.com/books?id=GKJbNkkZZOoC

|language = de

|edition = 8th

|location = Göttingen

|publisher = Vandenhoeck & Ruprecht

|isbn = 3-525-27811-X

}}

Further reading

  • Hill, Ralph, Ed., 1952, The Concerto, Penguin Books.
  • {{Cite Grove

|last1 = Hutchings

|first1 = Arthur

|author-link1 = Arthur Hutchings

|last2 = Talbot

|first2 = Michael

|author-link2 = Michael Talbot (musicologist)

|last3 = Eisen

|first3 = Cliff

|author-link3 = Cliff Eisen

|last4 = Botstein

|first4 = Leon

|author-link4 = Leon Botstein

|last5 = Griffiths

|first5 = Paul

|author-link5 = Paul Griffiths (writer)

|title = Concerto

|url = https://doi.org/10.1093/gmo/9781561592630.article.40737

}}

  • Randel, Don Michael, Ed., 1986, The New Harvard Dictionary of Music, Harvard University Press, Cambridge, MA and London.
  • Tovey, Donald Francis, 1936, Essays in Musical Analysis, Volume III, Concertos, Oxford University Press.

External links

{{Wiktionary|concerto}}

  • {{IMSLP|work=Category:Concertos |cname=Concertos |descr=scores }}

{{Concertos}}

{{Authority control}}

Category:Classical music styles