147:
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.
272:(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
69:(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.
772:
374:'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
53:
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
93:
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
112:
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
27:
is a musical form which features a single solo instrument with the melody line, accompanied by an orchestra. Traditionally, there are three movements in a solo concerto, consisting of a fast section, a slow and lyrical section, and then another fast section. However, there are many examples of
146:
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
81:(14 concertos for one to four harpsichords, c. 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.
153:'s five piano concertos date from between c. 1793 and 1809, and he also wrote an early concertante work for piano and orchestra in 1784. They are longer than Mozart's concertos, and call for even more virtuosity from the soloist. Beethoven's
76:
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, c. 1735–51), the earliest harpsichord concertos to
378:(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,
382:' 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.
437:
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
453:
Index of patents Issued by the United States Patent Office, 1968, p. 481 - Giulietti
Accordion Co. - Patent issued for the bass section of the accordion on Google Books
288:
Numerous 20th-century compositions were written in the vein of the 19th-century
Romantic concertos - and often using its forms and styles - including concertos by
684:
280:'s Wanderer Fantasy. The virtuosity required by all these concertos was facilitated by—and helped to spur—technical developments in the instruments themselves.
109:
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.
735:
715:
97:
The
Classical period also witnessed the rise of the keyboard concerto. Until about 1770, the preferred stringed keyboard instrument was usually the
435:
725:
720:
385:
A tendency related to the neoclassical rejection of
Romantic and traditional features is the use of jazz elements in many 20th-century concertos.
614:
464:
The Giulietti Sound: In Search of the History of My Accordion. Neijnens, Sander. The Netherlands, 2008 The Giulietti Sound on wolrdcat.org
505:
370:
movement of the period following World War I produced a long series of works that returned to pre-Romantic conceptions of the concerto.
619:
332:(organ). The virtuoso tradition mirrored in these concertos is also obvious, though in radically original guise, in the concertos of
730:
359:'s Concerto for nine instruments (1931–34), originally intended as a piano concerto; Berg's important Violin Concerto (1935); and
413:
193:(1853). The form of these works is predominantly in the Classical three-movements. Later works in this mould include examples by
132:
234:
238:
230:
222:
202:
198:
174:
452:
136:
157:(1806) exhibits similar achievements - Mozart's five violin concertos are all early works written in Salzburg in 1775.
72:
Concertos for instruments other than violin began to appear early in the 18th century, including the oboe concertos of
154:
297:
190:
186:
182:
528:
402:
256:
A more overtly virtuosic trend appeared in the concertos of brilliant violinists in the 19th century including
206:
140:
90:
439:"Concerto in C Major for Bassetti Accordion" Op. 1 John Serry 1968, Solo Arrangement Jan. 1, 1968 No. EP247602
604:
498:
305:
106:
226:
533:
340:
309:
242:
214:
73:
367:
78:
265:
639:
609:
558:
273:
150:
659:
325:
289:
261:
65:
The most influential and prolific composer of concertos during the Baroque period was the Venetian
62:'s important Op. 8 (1709 - the other six works in this set are double concertos for two violins).
797:
775:
669:
629:
584:
491:
416:, which showcases the wide range of modern orchestral tonal qualities inherent within the solo
679:
599:
360:
352:
333:
170:
751:
689:
674:
644:
589:
553:
417:
317:
246:
59:
50:
42:
45:'s Op. 6 of 1698. These works employ both a three-movement cycle and clear (if diminutive)
699:
568:
548:
538:
386:
379:
371:
329:
194:
178:
66:
55:
54:
for trumpet, two dated in the early 1690s. Other early violin concertos are the four in
694:
664:
654:
624:
594:
375:
321:
166:
791:
649:
634:
543:
409:
398:
394:
293:
356:
313:
301:
210:
128:
269:
257:
250:
118:
98:
113:
rondo finales are also frequent in three-movement concertos. Additionally, the
756:
344:
114:
46:
463:
348:
218:
514:
347:'s Chamber Concerto for piano, violin, and 13 winds (1923–25), not fully
277:
17:
405:(1926), Stravinsky's Ebony Concerto for clarinet and jazz band (1945).
245:(ten concertos for piano, violin, and cello, 1858–1902), in Russia by
420:
designed by the Italian instrument manufacturer Julio Giulietti.
131:'s concertos are mostly from his early career. Exceptions are the
122:
102:
241:, 1876–95). In France this tradition is represented primarily by
487:
336:. Rachmaninov, Prokofiev and Bartók were all piano virtuosos.
483:
363:'s own Violin Concerto (1935–36) and Piano Concerto (1942).
320:(five for piano, 1911–32; two for violin 1916-17 and 1935),
105:. The most important composers of keyboard concertos before
41:
The earliest known solo concertos are nos. 6 and 12 of
397:
for piano (1925). Jazz was a source of inspiration for
205:
from 1878 which adds a fourth movement - and one for
744:
708:
577:
521:
173:'s two piano concertos (1831–37) and his important
253:(three piano concertos, one for violin, 1874–93).
389:was a pioneer for such works, in for example his
117:form in the fast movements was replaced with the
685:Triple concertos for violin, cello, and piano
499:
328:(two each for piano, violin, and cello), and
8:
28:concertos that do not conform to this plan.
343:also produced several prominent concertos:
506:
492:
484:
414:Concerto in C Major for Bassetti Accordion
408:Similarly, in 1966 the accordion virtuoso
101:, but it was gradually supplanted by the
16:For broader coverage of this topic, see
428:
7:
615:Double concerto for violin and cello
478:The New Harvard Dictionary of Music
351:but incorporating many elements of
292:(four piano concertos, 1890–1926),
14:
94:by violinists for their own use.
771:
770:
58:'s Op. 2 (1700) and the six in
1:
268:(two concertos, 1829–30) and
441:on https://books.google.com
316:(violin, flute, clarinet),
814:
15:
765:
324:(viola, violin, cello),
605:Concerto for solo piano
107:Wolfgang Amadeus Mozart
49:form, like that of the
534:Concerto for orchestra
341:Second Viennese School
74:George Frideric Handel
620:English horn concerto
339:The composers of the
223:Violin Concerto No. 1
79:Johann Sebastian Bach
640:Harpsichord concerto
610:Double bass concerto
559:Sinfonia concertante
276:'s Konzertstuck and
151:Ludwig van Beethoven
125:forms respectively.
660:Percussion concerto
326:Dmitri Shostakovich
290:Sergei Rachmaninoff
243:Camille Saint-Saëns
221:(most famously his
137:Cello Concerto in D
133:Piano Concerto in D
670:Saxophone concerto
630:Harmonica concerto
585:Accordion concerto
169:concertos include
785:
784:
680:Trombone concerto
600:Clarinet concerto
353:Arnold Schoenberg
197:(two for piano -
181:'s concertos for
805:
774:
773:
752:Chorale concerto
690:Trumpet concerto
675:Timpani concerto
645:Marimba concerto
590:Bassoon concerto
554:Ripieno concerto
508:
501:
494:
485:
466:
461:
455:
450:
444:
433:
418:Free bass system
391:Rhapsody in Blue
318:Sergei Prokofiev
262:Niccolò Paganini
247:Anton Rubinstein
141:Trumpet Concerto
60:Giuseppe Torelli
51:ripieno concerto
43:Giuseppe Torelli
813:
812:
808:
807:
806:
804:
803:
802:
788:
787:
786:
781:
761:
740:
704:
700:Violin concerto
573:
569:Triple concerto
549:Double concerto
539:Concerto grosso
517:
512:
474:
472:Further reading
469:
462:
458:
451:
447:
434:
430:
426:
387:George Gershwin
380:Richard Strauss
372:Igor Stravinsky
355:'s new system;
330:Francis Poulenc
286:
266:Frédéric Chopin
195:Johannes Brahms
175:Violin Concerto
163:
155:Violin Concerto
87:
67:Antonio Vivaldi
56:Tomaso Albinoni
39:
34:
21:
12:
11:
5:
811:
809:
801:
800:
790:
789:
783:
782:
780:
779:
766:
763:
762:
760:
759:
754:
748:
746:
742:
741:
739:
738:
733:
728:
723:
718:
712:
710:
706:
705:
703:
702:
697:
695:Viola concerto
692:
687:
682:
677:
672:
667:
665:Piano concerto
662:
657:
655:Organ concerto
652:
647:
642:
637:
632:
627:
625:Flute concerto
622:
617:
612:
607:
602:
597:
595:Cello concerto
592:
587:
581:
579:
575:
574:
572:
571:
566:
561:
556:
551:
546:
541:
536:
531:
525:
523:
519:
518:
513:
511:
510:
503:
496:
488:
482:
481:
473:
470:
468:
467:
456:
445:
427:
425:
422:
412:completed his
403:Piano Concerto
376:Paul Hindemith
322:William Walton
285:
282:
227:Antonín Dvořák
201:from 1858 and
162:
159:
86:
83:
38:
35:
33:
30:
13:
10:
9:
6:
4:
3:
2:
810:
799:
796:
795:
793:
778:
777:
768:
767:
764:
758:
755:
753:
750:
749:
747:
745:Miscellaneous
743:
737:
734:
732:
729:
727:
724:
722:
719:
717:
714:
713:
711:
707:
701:
698:
696:
693:
691:
688:
686:
683:
681:
678:
676:
673:
671:
668:
666:
663:
661:
658:
656:
653:
651:
650:Oboe concerto
648:
646:
643:
641:
638:
636:
635:Harp concerto
633:
631:
628:
626:
623:
621:
618:
616:
613:
611:
608:
606:
603:
601:
598:
596:
593:
591:
588:
586:
583:
582:
580:
578:By instrument
576:
570:
567:
565:
564:Solo concerto
562:
560:
557:
555:
552:
550:
547:
545:
544:Concert piece
542:
540:
537:
535:
532:
530:
527:
526:
524:
520:
516:
509:
504:
502:
497:
495:
490:
489:
486:
479:
476:
475:
471:
465:
460:
457:
454:
449:
446:
443:
442:
438:
432:
429:
423:
421:
419:
415:
411:
406:
404:
400:
399:Aaron Copland
396:
395:Concerto in F
392:
388:
383:
381:
377:
373:
369:
364:
362:
358:
354:
350:
346:
342:
337:
335:
331:
327:
323:
319:
315:
311:
307:
303:
299:
295:
294:Jean Sibelius
291:
283:
281:
279:
275:
271:
267:
264:and pianists
263:
259:
254:
252:
248:
244:
240:
236:
232:
228:
225:, 1868), and
224:
220:
216:
212:
208:
204:
200:
196:
192:
188:
184:
180:
176:
172:
168:
160:
158:
156:
152:
148:
144:
142:
138:
134:
130:
126:
124:
120:
116:
110:
108:
104:
100:
95:
92:
84:
82:
80:
75:
70:
68:
63:
61:
57:
52:
48:
44:
36:
31:
29:
26:
25:solo concerto
19:
769:
563:
477:
459:
448:
440:
436:
431:
407:
390:
384:
368:neoclassical
365:
357:Anton Webern
338:
314:Carl Nielsen
302:Edward Elgar
287:
284:20th century
255:
211:Edvard Grieg
189:(1850), and
164:
149:
145:
129:Joseph Haydn
127:
111:
96:
88:
71:
64:
40:
24:
22:
709:By composer
393:(1924) and
334:Béla Bartók
270:Franz Liszt
258:Louis Spohr
251:Tchaikovsky
177:(1844) and
171:Mendelssohn
119:sonata form
99:harpsichord
757:Concertato
529:Concertino
424:References
410:John Serry
361:Schoenberg
345:Alban Berg
209:of 1878),
139:, and the
115:ritornello
47:ritornello
798:Concertos
515:Concertos
308:1909–10,
300:, 1903),
219:Max Bruch
217:, 1868),
91:Classical
85:Classical
792:Category
776:Category
726:Graupner
278:Schubert
185:(1845),
179:Schumann
167:Romantic
161:Romantic
18:Concerto
721:Corelli
312:1919),
37:Baroque
32:History
736:Mozart
349:serial
306:violin
298:violin
235:violin
207:violin
191:violin
165:Early
135:, the
731:Haydn
522:Types
310:cello
274:Weber
239:cello
231:piano
215:piano
203:No. 2
199:No. 1
187:cello
183:piano
123:rondo
103:piano
716:Bach
366:The
260:and
249:and
121:and
89:The
480:().
401:'s
794::
237:,
233:,
143:.
23:A
507:e
500:t
493:v
304:(
296:(
229:(
213:(
20:.
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