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Contents
Articles
Overview
Concerto Concertino Concerto grosso Concerto for orchestra Sinfonia concertante Ripieno concerto Solo concerto Student concerto 1 1 9 10 11 13 15 16 18 19 19 19 23 27 34 36 41 51 55 58 60 62 66 68 69 72 73 78 82 82 83
Concertos by instrument
Bass oboe concerto Bassoon concerto Cello concerto Clarinet concerto Double bass concerto Double concertos for violin and cello English horn Flute concerto Harmonica concerto Harpsichord concerto Oboe concerto Organ concerto Piano concerto Timpani concerto Triple concertos for violin, cello, and piano Trumpet concerto Viola concerto Violin concerto
Examples
Bassoon Bassoon Concerto (Mozart) Cello Cello Concerto (Elgar)
Clarinet Clarinet Concerto (Mozart) Double Double Concerto (Brahms) Flute Flute Concerto (Simpson) Harmonica Concerto for Harmonica and Orchestra (Arnold) Harpsichord Harpsichord concertos (Bach) Oboe Oboe Concerto (Mozart) Orchestra Concerto for Orchestra (Bartk) Organ Organ Concerto (Poulenc) Piano Piano Concerto No. 2 (Rachmaninoff) Sinfonia Sinfonia Concertante for Violin, Viola and Orchestra (Mozart) Triple Triple Concerto (Beethoven) Trumpet Trumpet Concerto (Haydn) Viola Viola Concerto (Bartk) Violin Violin Concerto (Beethoven)
86 89 92 93 93 100 101 104 105 109 110 111 112 114 116 116 118
Concertos by composer
Concertos by Christoph Graupner Concertos by Joseph Haydn
References
Article Sources and Contributors Image Sources, Licenses and Contributors 121 123
Article Licenses
License 124
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 etymology is uncertain, but the word seems to have originated from the conjunction of the two Latin words conserere (meaning to tie, to join, to weave) and certamen (competition, fight): the idea is that the two parts in a concerto, the soloist and the orchestra, alternate episodes of opposition, cooperation, and independence in the creation of the music flow.
Frederick the Great playing a flute concerto in Sanssouci, C. P. E. Bach at the piano, Johann Joachim Quantz is leaning on the wall to the right; by Adolph Menzel, 1852
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
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. Bachs 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 Spohrs twelve violin concertos, written between 1802 and 1827, that truly embrace the Romantic spirit with their melodic as well as their dramatic qualities. Beethovens 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 Niccol 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. douard 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. Tchaikovskys 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
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. Antonn Dvoks 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-Sans and Vieuxtemps wrote two cello concertos each and Lalo and Jongen one. Tchaikovskys 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 Hbraque 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, Dvok, Saint-Sans, 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
Beethovens 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 pianos 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. Griegs 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
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 Konzertstck 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, Csar Franck wrote Les Djinns and Variations symphoniques, and Gabriel Faur 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 Bartk 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 Schoenbergs concerto, like that in Bergs, is linked by the twelve-tone serial method. Bartk, 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. Hindemiths 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, Gyrgy Ligeti, Philip Glass, John Adams, and Kan-no.
Concerto
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 Lutosawski's cello concerto, Dmitri Kabalevsky's two cello concertos, Aram Khachaturian's Concerto-Rhapsody, Arvo Prt's Pro et Contra, Alfred Schnittke, Andr 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 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: Gyrgy Ligeti, Alexander Glazunov, Paul Hindemith, Toru Takemitsu, Darius Milhaud, Arthur Honegger, Nikolai Myaskovsky, Samuel Barber, Joaqun Rodrigo, Elliot Carter, Erich Wolfgang Korngold, William Walton, Heitor Villa-Lobos, Hans Werner Henze, Bernd Alois Zimmermann and Einojuhani Rautavaara for instance.
Piano concertos
Schoenbergs 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. Bartk 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. Gyrgy 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 premire.
Concerto Clarinet Concerto: Aho, Arnold, Copland, Denisov, Dusapin, Fairouz, Franaix, Htu, 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, Htu, 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, Glire, Jongen, Milhaud, Jolivet, Rautavaara, Rodrigo, Villa-Lobos Harpsichord Concerto: de Falla, Glass, Grecki, Martin, Poulenc Horn Concerto: Aho, Arnold, Arutiunian, Bowen, Carter, Davies, Glire, Gipps, Hindemith, Hovhaness, Jacob, Knussen, Ligeti, Murail, Penderecki, Strauss, Tomasi, J. Williams Mandolin Concerto: Thile Marimba Concerto: Creston, Larsen, Milhaud, Rosauro, Svoboda, Viao Oboe Concerto: Aho, Arnold, Bouliane, Denisov, Harman, MacMillan, Maderna, Martin, Penderecki, Shchedrin, Strauss, Vaughan Williams, Zimmermann Organ Concerto: Arnold, Hanson, Harrison, Htu, 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, Bhme, Jolivet, Perry, Williams, Zimmermann Tuba Concerto: Aho, Arutiunian, Holmboe, Vaughan Williams, J. Williams Viola Concerto: Aho, Arnold, Bartk, Denisov, Gubaidulina, Hindemith, Kan-no, Kancheli, Martin, 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
Dutilleux has also described his Mtaboles as a concerto for orchestra, while Britten's well-known pedagogical work The Young Person's Guide to the Orchestra is essentially a concerto for orchestra in all but name.
Concerto Lowell Liebermann's concerto for flute and harp Gyrgy Ligeti's double concerto for flute and oboe. Jon Lord's concerto for rock band. Witold Lutosawski's concerto for oboe and harp. Bohuslav Martinu's concerto for string quartet, concertino for piano trio and string orchestra, two concertante duos for two violins, concerto for two pianos, sinfonia concertante No. 2 for violin, cello, oboe, bassoon and orchestra with piano, and his concerto for violin and piano. Olivier Messiaen's Concert quatre for piano, cello, oboe and flute. Darius Milhaud's Symphonie concertante for bassoon, horn, trumpet and double bass, as well as his concerti for flute and violin, and for marimba and vibraphone. Francis Poulenc's concerto for two pianos. Joaqun Rodrigo's Concierto madrigal for 2 guitars and Concierto Andaluz for 4 guitars. William Russo's concerto for blues band. Alfred Schnittke's double concerto for oboe, harp, and strings as well as his Konzert zu Dritt, for violin, viola, violoncello and strings. Rodion Shchedrin's double concerto for piano and cello. Michael Tippett's triple concerto for violin, viola, and cello.
In the 21st century: Leo Brouwer's Guitar Concerto No. 10 "Book of Signs", for two guitars Mohammed Fairouz's Double Concerto 'States of Fantasy' for violin and cello William P. Perry's Gemini Concerto for violin and piano Karl Jenkins' Over the Stone for two harps
External links
Anthology of 20th century violin concertos [1] Chisholm, Hugh, ed (1911). "Concerto". Encyclopdia Britannica (11th ed.). Cambridge University Press.
References
[1] http:/ / www. violinconcerto. de
Concertino
Concertino
A concertino (or Konzertstck) 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: Ccile 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 Leo Janek: 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: Konzertstck 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
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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 Martin, Malcolm Williamson, Henry Cowell, Alfred Schnittke, Heitor Villa-Lobos, Andrei Eshpai, Eino Tamberg, Krzysztof Penderecki, Jean Franaix 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)/ )
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Concerto for Orchestra by Karel Husa (1986) 1st Concerto for Orchestra by Steven Stucky (198687)
Concerto for orchestra Concerto for Orchestra by Leonard Bernstein (198689), which is also known as "Jubilee Games" for orchestra and baritone Concerto for Orchestra (Variations without a theme) by Denys Bouliane (198595) Concerto for Orchestra by Joan Tower (1991) Third Concerto for Orchestra, Op. 80 by Robin Holloway (198194) 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 Stanisaw 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 (200304) Concerti for Orchestra by Milton Babbitt (2004) Concierto para orquestra by Agust Charles (2004) Concerto for Orchestra by Alejandro Arguello (200405) Fourth Concerto for Orchestra, Op. 101 by Robin Holloway (200406) Concerto for Orchestra by Christopher Rouse (20072008) 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 (200910)
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For string orchestra Concerto in D by Igor Stravinsky (1946) For chamber orchestra Concerto for Chamber Orchestra by George Antheil (1932) Chamber Concerto by Gyrgy Ligeti (1969-70) Concerto for Orchestra by John Woolrich (1999)
Sinfonia concertante
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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-Sans' 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-Sans uses a violin in Danse macabre, and Csar 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. douard Lalo's most known work, the Symphonie Espagnole, is in fact a sinfonia concertante for violin and orchestra.
Sinfonia concertante A work in the same vein, but with the piano taking the "concertante" part is Vincent d'Indy's Symphonie Cvenole (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).
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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 Martin 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
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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 quatre" (or " 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 Torellis 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 Torellis second publication to include concertos, op. 6 (1698), and in Giulio Tagliettis 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 Bartoks popular work of 1943, include compositions by Hindemith (1925), Walter Piston (1933), Zoltan Kodaly (193940), Michael Tippett (196263), 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 (196465).
References
The New Harvard Dictionary of Music
Solo concerto
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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 Torellis 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 Albinonis op. 2 (1700) and the six in Torellis 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 (16781741). 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). Vivaldis 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 Bachs 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 Joseph Haydns concertos are mostly from his early career. Exceptions are the Piano Concerto in D, the Cello Concerto in D, and the Trumpet Concerto. Of Mozarts 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. Mozarts 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 Beethovens 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. Beethovens Violin Concerto (1806) exhibits similar achievements - Mozarts five violin concertos are all early works written in Salzburg in 1775.
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Romantic
Early Romantic concertos include Mendelssohns two piano concertos (183137) 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 Antonn Dvok (piano, violin, cello, 187695). In France this tradition is represented primarily by Camille Saint-Sans (ten concertos for piano, violin, and cello, 18581902), in Russia by Anton Rubinstein and Tchaikovsky (three piano concertos, one for violin, 187493). A more overtly virtuosic trend appeared in the concertos of brilliant violinists in the 19th century including Louis Spohr and Niccol Paganini and pianists Frdric Chopin (two concertos, 182930) 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. Liszts 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 Webers Konzertstuck and Schuberts Wanderer Fantasy. The virtuosity required by all these concertos was facilitated byand helped to spurtechnical 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, 18901926), Jean Sibelius (violin, 1903), Edward Elgar (violin 1909-10, cello 1919), Carl Nielsen (violin, flute, clarinet), Sergei Prokofiev (five for piano, 191132; 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 Bla Bartk. Rachmaninov, Prokofiev and Bartk were all piano virtuosos. The composers of the Second Viennese School also produced several prominent concertos: Alban Bergs Chamber Concerto for piano, violin, and 13 winds (192325), not fully serial but incorporating many elements of Arnold Schoenbergs new system; Anton Weberns Concerto for nine instruments (193134), originally intended as a piano
Solo concerto concerto; Bergs important Violin Concerto (1935); and Schoenbergs own Violin Concerto (193536) 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 Stravinskys Concerto for Piano and Winds (192324) 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, 193962) 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 Coplands Piano Concerto in G (192931), Stravinskys Ebony Concerto for clarinet and jazz band (1945).
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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.
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Concertos by instrument
Bass oboe concerto
The bass oboe, a relative of the oboe having the same note compass as the latter, is able to play any work written for oboe - it will, however, sound an octave lower. In addition a very small number of concertos have been written for the bass oboe and for a related instrument with the same range, the Heckelphone. These include the following:
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 Phnix for four bassoons and continuo Caspar Frster, Concerto [1] Johann Gottlieb Graun, Concerto in C Major [2] Christoph Graupner, Four Bassoon Concerti in C Major, GWV 301 , C Minor, [3] [4] [5] GWV 307 , G Major, GWV 328 and B flat Major, GWV 340 [6] Franz Horneck, Concerto in E flat Major Frantiek Jirnek, Bassoon Concerti in G Minor and F Major Antonn Jirnek, Four Bassoon Concerti Johann Melchior Molter, Concerto in B flat Major, [7] MWV 6.35 Antonn 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
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Johann Christian Bach, Two Bassoon Concerti in E flat Major (W [10] C82) and B flat Major (W C83) Capel Bond, Bassoon Concerto No. 6 in B flat Major (1766) Bernhard Henrik Crusell, Bassoon Concertino in B flat Major Franz Danzi, Three Bassoon Concerti in F Major, C Major and G Minor Franois Devienne, Five Bassoon Concerti Luigi Gatti, Bassoon Concerto in F Major, L7:e4
Johann Baptist Georg Neruda, Concerto in C Major Johann Heinrich Christian Rinck, Concerto [11]
Antonio Rosetti, Bassoon Concerti (C69, C73-C75) Carl Stamitz, Bassoon Concerto in F Major Johann Baptist Vanhal, Bassoon Concerto in C Major, Concerto for Two Bassoons and Orchestra Anselm Viola, Concerto in F Major (1791) Johann Christoph Vogel, Concerto in C Major
Johann Nepomuk Hummel, Bassoon Concerto in F Major, S. 63/WoO 23 Leopold Kozeluch, Two Bassoon Concerti in B flat Major, P V:B1 and C Major, P V:C1 Gustav Heinrich Kummer, Concerto in F Major [12]
Romantic
Ferdinand David, Concertino, Op. 12 (1838) Johann Nepomuk Fuchs, Concerto in B flat Major Ludwig Milde, Concerto in A Minor Giachino Rossini, Bassoon Concerto (attributed to Rossini, authenticity [13] questionable) Carl Maria von Weber, Bassoon Concerto in F Major, Op. 75 (1811) Ermanno Wolf-Ferrari, Suite-concertino in F Major, Op. 16 (1932)
20th/21st century
Dieter Acker, Concerto (1979, rev. 1980) Murray Adaskin, Concerto (1960) Raffaele d'Alessandro, Concerto, Op. 75 (1956) David Amram, Concerto (1970) Allyson Applebaum, Concerto (1995) Tony Aubin, Concerto della Brughiera (1965) [14] John Joubert, Concerto, Op. 77 (1973) Ernest Kanitz, Concerto (1962) Jouni Kaipainen, Concerto (2005) Yuri Kasparov, Concerto (1996) Manfred Kelkel, Concerto, Op. 13 (1965) [15]
Carson Kievman, Concerto for Bassoon (and Fire Alarm System) [16] for bassoon and percussion ensemble (1973) Lev Knipper, Concerto for Bassoon and Strings (1969) Rudolf Komorous, Concerto Ezra Laderman, Concerto (1954) Lars-Erik Larsson, Concertino, Op. 45, No. 4 (1955) Ray Luke, Concerto (1965) Mathieu Lussier, Double Concerto for Trumpet (or Flute) and [18] Bassoon Ernst Mahle, Concertino (1980) Jeff Manookian, Concerto [19] (2008) [17]
Tzvi Avni, Concerto (2002) Conrad Baden, Concerto, Op. 126 (1980) Henk Badings, Concerto for Bassoon, Contrabassoon and Wind Orchestra (1964) Larry Bell, Concerto, Op. 45 The Sentimental Muse (1997) Alain Bernaud, Concertino (1962) Umberto Bertoni, Concerto
[20] [21]
Bernard van Beurden, Concerto for Bassoon and Wind Ensemble Judith Bingham, Concerto (1998) Marcel Bitsch, Concertino for Bassoon and Orchestra (1948) Alexander Blechinger, Concerto, Op. 111 Daniel Brtz, Concerto for Bassoon and Band (1978-79)
Per Mrtensson, Concerto (2002) Peter Maxwell Davies, Strathclyde Concerto No. 8 (1993) Chiel Meijering, "Neo-Geo" Concerto Francisco Mignone, Concertino (1957) Oskar Morawetz, Concerto (1995)
Eugne Bozza, Concertino for Bassoon and Chamber Orchestra, Op. 49 (1946) Colin Brumby, Concerto
Bassoon concerto
Victor Bruns, Four Bassoon Concerti, Op. 5 (1933), Op. 15 (1946), Op. 41 (1966) and Op. 83 (1986), and Contrabassoon Concerto, Op. 98 (1992) Glen Buhr, Concerto (1996) Henri Bsser, Concertino, Op. 80 Frits Celis, Concertino, Op. 38 for bassoon, violin, viola and cello (1992) Andr Chini, Golette de jade Concerto for Bassoon and Strings (1999-2000) Wilson Coker, Concertino for Bassoon and String Trio (1959)
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Marjan Mozetich, Concerto for Bassoon and Strings with Marimba [22] (2003) Ray Nssn, Concerto for Bassoon and Wind Band Andrzej Panufnik, Concerto (1984) (in memory of Jerzy Popieuszko) Boris Papandopulo, Concerto Ji Pauer, Concerto (1949)
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 Craig Phillips, Concerto (2002) Johnterryl Plumeri, Concerto Arthur Polson, Concerto Amando Blanquer Ponsoda, Concerto (1977) Augusto Rattembach, Concierto con algo de Tango Alan Ridout, Concertino [24]
Dinos Constantinides, Concerto, LRC 154a Andrzej Dobrowolski, Concerto (1953) Franco Donatoni, Concerto (1952) Pierre Max Dubois, Concerto Ironico (1968) Jack Curtis Dubowsky, Concerto (2005) [26]
[25]
Sophie Carmen Eckhardt-Gramatt, 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 Anders Eliasson, Concerto (1982) John Fairlie, Concerto Jindich Feld, Concerto (1953) John Fernstrm, Concerto, Op. 80 (1945) Eric Fogg, Concerto (1931) Bjrn Fongaard, Concerto for Bassoon and Orchestra, Op. 120, No. 12; Concerto for Bassoon and Tape, Op. 131, No. 10 Jean Franaix, Divertissement for Bassoon and String Orchestra (1942), Concerto for Bassoon and 11 String Instruments (1979) Stephen Frost, Concerto (1999, rev. 2004) Anis Fuleihan, Concertino (1965) Launy Grndahl, Concerto (1942) [32] [30]
[29]
Nino Rota, Concerto (1974-77) Harald Sverud, Concerto, Op. 44 (1964) Stellan Sagvik, Svensk (ngermanlnsk) Concertino, Op. 114e (1982) Friedrich Schenker, Concerto (1970) Gunther Schuller, Concerto "Eine Kleine Fagottmusik" (1985) Maurice Shoemaker, Concerto (1947) [31]
Gunnar Snstevold, Concertino (1973) Micha Spisak, Concerto (1944) [33] [34] Concertino for Two
[35]
Franklin Stover, Double Concerto for Bassoon, Contrabassoon and Orchestra (2010) Stjepan ulek, Concerto (1958) Christopher Theofanidis, Concerto (1997-2002) Henri Tomasi, Concerto (1961) Marc Vaubourgoin, Concerto (1963) [37] [36]
Bernard Heiden, Concerto (1990) Jacques Htu, Concerto (1979) Frigyes Hidas, Concerto for Bassoon and Wind Ensemble (1999) Paul Hindemith, Concerto for Bassoon and Trumpet (1949) Peter Hope, Concertino Caleb Hugo, Concerto [38]
Stanley Weiner, Concerto, Op. 21 (1969) John Williams, The Five Sacred Trees (1995) Guy Woolfenden, Concerto (1999) Len Zuckert, Concerto (1976) Ellen Taaffe Zwilich, Concerto (1992) [40] [39]
Bertold Hummel, Concerto, Op. 27b Gordon Jacob, Concerto (1947) Andr Jolivet, Concerto (1951)
Bassoon concerto
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Other famous pieces for bassoon and orchestra include Berwald's Konzertstck [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,_Antonn) [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] Brtz 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-Gramatt Triple-Concerto (http:/ / www. musiccentre. ca/ apps/ index. cfm?fuseaction=score. FA_dsp_details& bibliographyid=7197& dsp_page=13) [28] Eckhardt-Gramatt 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] Grndahl Concerto (http:/ / www. edition-peters. com:80/ product/ bassoon-concerto/ ed13) [33] Micha 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/ Konzertstck_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-Sans, Dvok). 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.
Cello concerto Cello Concerto, Op. 40 (1955) Joseph Haydn Cello Concerto No. 1 in C major Cello Concerto No. 2 in D major Several others although their authenticity is disputed Paul Hindemith Cello Concerto in E-flat major, Op. 3 (1916) Kammermusik No. 3 for cello and 10 instruments, Op. 36/2 (1925) Cello Concerto in G (1940) Arthur Honegger Cello Concerto (1934) Dmitri Kabalevsky Cello Concerto No. 1 in G minor, Op. 49 (1949) Cello Concerto No. 2 in C minor, Op. 77 (1964) Aram Khachaturian Cello Concerto in E minor (1946) Concerto-Rhapsody in D minor (1963) douard Lalo Cello Concerto in D minor (1876) Gyrgy Ligeti Cello Concerto (1966) Witold Lutosawski Cello Concerto (196970) Nikolai Myaskovsky Cello Concerto in C minor, Op. 66 (1944) Krzysztof Penderecki Cello Concerto No. 1 (1972) Cello Concerto No. 2 (1982) Georg Matthias Monn (1717 - 1750) Cello Concerto in G minor Sergei Prokofiev Cello Concerto, Op. 58 Symphony-Concerto, Op. 125 (revision of Op. 58) Cello Concertino in G minor, Op. 132 (incomplete) (1952) Einojuhani Rautavaara Cello Concerto No. 1 (1968) Cello Concerto No. 2 Towards the Horizon (2010) Camille Saint-Sans Cello Concerto No. 1 in A minor, Op. 33 (1872) Cello Concerto No. 2 in D minor, Op. 119 (1902) ([1]) Robert Schumann
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Cello concerto Cello Concerto in A minor, Op. 129 (1850) Dmitri Shostakovich Cello Concerto No. 1 in E-flat major, Op. 107 (1959) Cello Concerto No. 2 in G major/minor, Op. 126 (1966) Alfred Schnittke Cello Concerto No. 1 Cello Concerto No. 2 Carl Stamitz (1745-1801) Cello Concertos 1-3 Giuseppe Tartini Cello Concerto in A major Cello Concerto in D major Henri Vieuxtemps Cello Concerto in A minor, Op. 46 Cello Concerto in B minor, Op. 50 Heitor Villa-Lobos Cello Concerto No. 1 Cello Concerto No. 2 Antonio Vivaldi Cello Concerto RV 398 in C major Cello Concerto RV 400 in C major Cello Concerto RV 401 in C major Cello Concerto RV 402 in C minor Cello Concerto RV 403 in D major Cello Concerto RV 404 in D major Cello Concerto RV 405 in D minor Cello Concerto RV 406 in D minor (related to RV 481) Cello Concerto RV 407 in D minor Cello Concerto RV 408 in E-flat major Cello Concerto RV 410 in F major Cello Concerto RV 411 in F major Cello Concerto RV 412 in F major Cello Concerto RV 413 in G major Cello Concerto RV 414 in G major Cello Concerto RV 415 in G major Cello Concerto RV 416 in G minor Cello Concerto RV 417 in G minor Cello Concerto RV 418 in A minor Cello Concerto RV 419 in A minor Cello Concerto RV 420 in A minor Cello Concerto RV 421 in A minor Cello Concerto RV 422 in A minor
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Cello concerto Double Concerto for Cello and Bassoon RV 409 in E minor Double Concerto for 2 Cellos RV 531 in G minor William Walton Cello Concerto (1956) Charles Wuorinen Five: Concerto for Amplified Cello and Orchestra (1987) Chamber Concerto for Cello and 10 Players (1963) Isang Yun Concerto for Cello and Orchestra (1975/76)
26
References
[1] http:/ / www. mmguide. musicmatch. com/ artist/ artist. cgi?ARTISTID=1089026& TMPL=LONG [2] http:/ / dvorak. musicabona. com/ ~dvorak/ 123/
Clarinet concerto
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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 & Hrtel 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 Brmann (17841847) Concertstck 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 Brmann (18101885) Konzertstck for two Clarinets and Orchestra Joseph Beer (17441812) 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) Matthus (Frdric) 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 Clarinet Concerto No. 2 (1808) Clarinet Concerto No. 3 (1807) ([5]) Johan Sebastian Demar's Concerto in E-flat major for Clarinet and Orchestra Franois Devienne Concertino in B-flat major for two Clarinets and Orchestra op.25 Franz Anton Dimler Concerto in B-flat major for Clarinet and Orchestra Gaetano Donizetti Concertino for Clarinet and Orchestra in B-flat major Joseph Leopold Eybler (17651846) Concerto in B-flat major for Clarinet and Orchestra (1798)[3] Josef Fiala Concertante in B-flat major for Clarinet and Cor Anglais Karl Andreas Goepfert (17681818) Concerto in E-flat Major, op. 14 Concerto in B-flat Major, op. 20 Concerto in E-flat Major, op. 35 Franz Anton Hoffmeister (17541812) Clarinet Concerto in B-flat major for Clarinet and Orchestra (1782-1784?) Concerto in E-flat major for two Clarinets and Orchestra (1782- 1784?) Leopold Kozeluch (17471818) two clarinet concertos in E-flat major[3] Franz Krommer Concerto in E for clarinet and orchestra two concertos for two clarinets and orchestra, both in E Konzertstck for two clarinets and orchestra Karol Kurpinski Concerto for Clarinet and Orchestra Ludwig August Lebrun Concerto in one movement in B-flat major for Clarinet and Orchestra Jean-Xavier Lefvre Clarinet Concertos No. 4 and No.6 (1796) Peter Joseph von Lindpaintner Concertino in E-flat major for Clarinet and Orchestra John Mahon (17481834) Clarinet Concerto No. 2 in F major Wolfgang Amadeus Mozart (1756 - 17891) Clarinet Concerto (1791) Sinfonia Concertante in E-flat major for Oboe, Clarinet, Bassoon, French Horn, and Orchestra Iwan Mller (17861854) Concertante op. 23 in E-flat major for two Clarinets and Military Band Carlo Paessler (17741865) Concerto con variazioni in E-flat major for Clarinet and Strings Concerto in C minor for Clarinet and Orchestra
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Clarinet concerto Concerto in B-flat major for Clarinet and Orchestra Ignaz Pleyel (17571831) Concerto in C major for Clarinet in C Frantiek Xaver Pokorn (17291794) Concerto in B-flat major for Clarinet and Orchestra Antonn Reicha (17701836) Concerto in G minor for Clarinet and Orchestra Introduction and Variations on a Theme by Dittersdorf in B-flat major for Clarinet and Orchestra Carl Gottlieb Reissiger (1798 - 1859) Concertino in E-flat major op. 63 for Clarinet and Orchestra Julius Rietz (1812 - 1877) Concerto in G minor op.29 for Clarinet and Orchestra Alessandro Rolla (1757 - 1841) Concerto for Bassethorn and Orchestra Antonio Rosetti (1750 - 1792) Concerto nr. 1 in E-flat major for Clarinet and Orchestra Concerto nr. 2 in E-flat major for Clarinet and Orchestra two additional clarinet concertos Gioachino Rossini (1792 - 1868) Introduction, Theme and Variations in E-flat major/B-flat major for Clarinet and Orchestra Variations for Clarinet and Small Orchestra in C major (1809) Concerto no. 1 in C minor/A-flat major/E-flat major for two Clarinets and Orchestra Introduction, Theme and Variations in B minor/B-flat major for Clarinet and Orchestra Fantasie in E-flat major for Clarinet and Orchestra Concerto no. 2 in E-flat major/A-flat major/E-flat major for two Clarinets and Orchestra Theodor von Schacht (1748 -1823) Clarinet Concerto in B-flat major for clarinet and orchestra Georg Abraham Schneider Concerto no. 1 for basset horn and orchestra, op. 90. (1820?)[6] [7] Concerto no. 2 for basset horn and orchestra, op. 105.[6] Pedro tienne Solre (1753 - 1817) Concerto in E-flat major for two Clarinets and Orchestra Concerto in E-flat major for Clarinet and Orchestra Concerto Espagnol in B-flat major for Clarinet and Orchestra Louis Spohr (17841859) Clarinet Concerto No. 1 C Minor, op. 26 (1808) Clarinet Concerto No. 2 in E-flat Major, op. 57 (1810) Clarinet Concerto No. 3 in F Minor, WoO 19 (1821) Clarinet Concerto No. 4 in E Minor, WoO 20 (1828) Fantasia and Variations on a Theme by Danzi for Clarinet and Orchestra Potpourri for Clarinet and Orchestra (1811) "Description of Spohr Potpourri on Naxos CD" [8]. Retrieved 15 April 2009.)
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Variations on a Theme from "Alruna" for Clarinet and Orchestra (1809) Carl Stamitz (17451801)
Clarinet concerto 11 Clarinet Concertos Franz Xaver Smayr (17661803) Concerto movement in D major for Basset Clarinet and Orchestra Franz Wilhelm Tausch (17621817) 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 (17561788) Concerto in B-flat Major [3] Carl Maria von Weber (17861826) Concertino for clarinet and orchestra Clarinet Concerto No. 1 Clarinet Concerto No. 2 (all 1811) Peter von Winter (17541825) Concerto in E-flat major for Clarinet and Orchestra Michl Yost (17541786) 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
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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 (18091847) 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 (17951870) Clarinet Concerto in B-flat major Clarinet Concerto in E-flat major Nikolai Rimsky-Korsakov (18441908) Concertstck for Clarinet and Military Band (1878)[9] Louis Schindelmeisser (18111864) Sinfonia Concertante for four Clarinets and Orchestra, op. 2 (1833) Sergey Ivanovich Taneyev (18561915) 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 Amargs' 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 Radams 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 Eugne 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 (19851987) (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 Franaix's Clarinet Concerto (1968) Armin Fries's Concerto for Clarinet and Strings (1956) Gunnar de Frumerie's Concerto op. 51 (19571958) 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 Anthony Iannaccone's Concertante for Clarinet and Orchestra (1995) Gordon Jacob's mini-concerto for Clarinet and String Orchestra Shigeru Kan-no's Bassetklarinette Koncerto (2006) Ando Kovach's Concerto for Clarinet and Strings (1995) Helmut Lachenmann's Accanto (1976) Magnus Lindberg's Concerto for Clarinet and Orchestra (2002) Ian McDougall's Concerto for Clarinet & String Orchestra William Thomas McKinley's Concerto for Clarinet no. 3 The Alchemical (1994) Elizabeth Maconchy
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Concertino no. 1 for Clarinet and Orchestra Concertino no. 2 for Clarinet and Orchestra Donald Martino's Triple Concerto for clarinet, bass clarinet, and contrabass clarinet. Krzysztof Meyer's Concerto for Clarinet and Orchestra (2002) Thea Musgrave Clarinet Concerto (1979)[19] Concerto for bass clarinet and orchestra. Lior Navok's Clarinet Concerto (1996),[20] Carl Nielsen's Clarinet Concerto (1928) Jim Parker's Concerto for Clarinet and Strings Krzysztof Penderecki's Clarinet Concerto Lorenzo Perosi's Concerto per clarinetto e orchestra Lyubomir Pipkov's Concerto for Clarinet and Chamber Orchestra Walter Piston's Concerto for Clarinet and Orchestra (1967) Marcel Poot's Concerto for Clarinet and Orchestra (1977) Einojuhani Rautavaara's Clarinet Concerto (2001) Alan Rawsthorne's Concerto for Clarinet and String Orchestra Andrew Rindfleisch's "The Light Fantastic" for bass clarinet and wind ensemble (2003). Jean Rivier's Concerto for Clarinet and String Orchestra Paul Rosenbloom's Concertante Variations for Clarinet and Chamber Orchestra. Jonathan Russell's Double bass clarinet concerto. Josef Schelb's Concerto for bass clarinet and orchestra. Armin Schibler's Concertino for Clarinet and Strings op.49 (1956) Tobias Schwencke's Concerto for Clarinet solo and 15 Strings Mtys Seiber's Concertino for Clarinet and String Orchestra Elie Siegmeister's Clarinet Concerto Frederick Speck's Concerto for Clarinet and Orchestra (1993) Charles Villiers Stanford's Clarinet Concerto in A minor op. 80 Frank Graham Stewart's Concerto for B-flat Clarinet and Orchestra (1993) Igor Stravinsky's Ebony Concerto for clarinet and jazz band (1945) Aurel Stroe's Concerto for Clarinet and Orchestra Toru Takemitsu's Fantasma/Cantos for clarinet and orchestra Josef Tal's Concerto for clarinet and orchestra Boris Tchaikovsky's Concerto for clarinet and chamber orchestra (1957) Frank Ticheli's Clarinet Concerto (2010)
Franz Tischhauser The Beggar's Concerto for Clarinet and Strings Henri Tomasi's Concerto for Clarinet and String Orchestra Joan Tower's Clarinet Concerto
Clarinet concerto August Verbesselt's Concerto for Clarinet and Orchestra (1982) Sndor Veress' Clarinet Concerto Douglas Weiland's Clarinet Concerto, op. 30 (2001) Norma Wendelburg's Concerto for Clarinet and Orchestra John Williams's Clarinet Concerto (1991)Williams Concerto Site [21] Isang Yun's Clarinet Concerto (1981) Marcin Zielinski's Concertino for Clarinet Solo and Strings Marilyn J. Ziffrin's Clarinet Concerto stemihan Tavilolu's Clarinet Concerto Clarinet and Orchestra
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Notes
[1] Rice, Albert R. (1992). The Baroque Clarinet. Oxford: Clarendon Press. pp.99101. [2] Rice, Albert R. (1992). The Baroque Clarinet. Oxford: Clarendon Press. pp.9394. [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. ISBN978-0-300-10282-6. . [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 ConcertoThea 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)
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Double bass concerto 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 (19681973) 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 risueo Serge Lancen Concerto pur contrebasse et cordes Fernand Fontaine Concerto As dur
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A
Kurt Atterberg Concerto in G minor and C major for violin, violoncello and string orchestra. Op. 57. (195960)
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 (198990) 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 (191516) Gaetano Donizetti
Double concertos for violin and cello Double Concerto (Concertino) for Violin, Cello and Orchestra in D minor (reconstruction by J. Wojciechowski)[2]
37
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)
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 Rodrguez Favola Concertante, Ballet and Double Concerto for Violin, Cello, and String Orchestra (1975) Julius Rntgen Double Concerto for violin and cello (1927) Ned Rorem Double Concerto for Violin, Cello and Orchestra Mikls Rzsa 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)
39
S
Camille Saint-Sans La Muse et le Pote 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 (198182) 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 Antonn Vranick (also spelled Anton Wranitzky) Two Concertos for Violin and Cello and orchestra
40
W
Robert Ward Dialogues for violin, cello and orchestra (1983)
Y
Eugne Ysae Pome 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, Tams (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.
Anthology of 20th century violin concertos (http://www.violinconcerto.de) Shar Music Catalogue (http://www.sharmusic.com/)
English horn
41
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 Year [2] Accompaniment Length (min.) 8' Publisher Record label
Serenade, op. 12
1936
Amadeus
Pan (Qualiton)
Autumn Legend
1954
strings
12'
Lengnick
Keith Amos Louis Applebaum Jess Armbarri Henk Badings Carles Baguer Matthias Bamert Jeanne Barbillion Siegfried Barchet Arnold Bax
Princess of the peacocks Five Snapshots Ofrenda a Falla American Folks Song Suite Concerto [4] [3]
CMA Publications
UME Peters
Naxos
Concertino Cortge funbre Concertino Concertante for Three Solo [5] Instruments and Orchestra Concerto in F major Legende Recuerdo [6]
Schirmer; Schott
1973 1949
15'
Universal
16'
Presser Lemoine
Golden Crest
1952
orchestra
3'
English horn
42
Elegy Three poems 1949 1965 strings strings 8' CNC
Lorne Betts Oliver Corcoran Binney Yohanan Boehm Jo van den Booren Teresa Borrs i Fornell Siegfried Borris Neil Bramson Colin Brumby Victor Bruns Anthony Burgess Eurico Carrapatoso Elliott Carter Andr Casanova Romeo Cascarino Frits Celis Sergio Cervetti Emmanuel Chabrier Julius Chajes Brian Cherney Brian Cherney Barney Childs
Concertino Concertion Scena for cor anglais Concerto, op. 61 ConcertoOS6.3 Cinco peas de carcter Pastoral [8]
1949 2006 1988 1978 1988 2005 1988 1969 1945 1997 1974 1875 1958 1992 2001 1955
strings strings strings orchestra orchestra strings strings marimba orchestra strings orchestra strings orchestra strings orchestra harp orchestra strings harp percussion orchestra strings orchestra orchestra orchestra harp strings 21' 18' 14' 8' 7' 8'30 9'
Musique concertante Blades of Grass Kareol, op. 61b Duelle Lamento Melody and dance In the stillness of September 1942 La Princesse lointaine Concerto [3]
Elizabeth Clark
Larghetto
Dinos Constantinides Threnos of Creon Robert Cummings Arthur Cunningham Michael Daugherty Gion Antoni Derungs David Diamond Concerto Dim du mim Spaghetti western Elegia, op. 131/a
Magni
Elegy in memory of William Faulkner (No. 1 of Elegies for flute, EH, and string orch.) Altayan Nocturne, op. 30 Concerto, op. 37 Orpheus Concertino in G major, In. 608 Indian summer Il Cygnet Girondelle
1963
strings
9'
Peer Music
Igor Dibak Caspar Diethelm Gerd Domhardt Gaetano Donizetti Will Eisma Roderick Elms Eberhard Eyser
strings percussion harp strings strings orchestra orchestra orchestra strings 4' SMIC 11' Peters; Litolff Donemus Dutton 8+ recordings
English horn
[10]
43
1790 1961 1780 [11] 2000 1948 1810 [13] 1976 2006 1995 [6] 1986 orchestra strings orchestra 12' Cesky Hudebni Fond Philips KrausHaus
Concerto in C
Juraj Filas Ernst Fischer Anton Fladt Bjrn Fongaard Matt Fossa Tommy Fowler Luca Francesconi
Ora pro nobis, Fantaisie concertante First piece of Drei Stcke > Idylle Concertino [12]
orchestra orchestra orchestra orchestra strings timpany orchestra orchestra 9' 21' 4'
Ricordi
Luca Francesconi Isadore Freed Peter Racine Fricker Eugenia Frothingham Kenneth Fuchs Peter Paul Fuchs Peter Paul Fuchs Anis Fuleihan Raphael Fusco Kenji Fus John Linton Gardner Ren Gerber Timothy Goplerud Ursula Grsch Gabriel Ian Gould Matthias Grimminger Richard Gross Urho Hallaste Joseph Hallman
[14]
14'
Ricordi [15]
13'
Schott
Eventide Fantasy Partita concertante, op. 43 Le cor anglais s'amuse Capriccio Concertante Elegy The Last Prelude, op. 247 Concertino Concerto Konzertstuck Watercolors Konzert [6]
1985 1974 1981 1969 2007 1998 2003 1976 2001 1988 1998 1995
orchestra strings strings orchestra orchestra strings strings orchestra orchestra orchestra orchestra orchestra
Naxos
MS 22' Gallo
12' Artivo
Albany
strings strings strings harp percussion strings orchestra strings strings 25' 14'
English horn
44
Music, op. 50 1943 orchestra
Edward Burlingame Hill Sydney Phillip Hodkinson Bernard Hoffer Anders Hultqvist Gordon Jacob
The Edge of the Old One Concerto Variation n.31: concerto Rhapsody Partita Podvecerni hudba Mditation op. 21 [17]
[16]
1977
strings percussion
26'
Presser
New World
orchestra orchestra strings 9' SMIC Steiner & Bell; Galaxy Golden Crest
Stanislav Jelnek Ivo Jirasek Joseph Jongen Joseph Kaminski Maurice Karkoff
strings 1985 1901 1958 1991 strings orchestra strings orchestra Israeli Music Institute SMIC
Variations on an Israeli theme Lieder ohne Worte: Stimmungsbilder, op. 188 Champagne in a Teapot Piet What an English horn player thinks Colored Field Intermezzo Fantasi ver en svensk vallt Rondo Vision pastorale, op. 15/1 Elegie und Scherzo
Elena Kats-Chernin Ulysses Kay Garrison Keillor Aaron Jay Kernis Uuno Klami Erland von Koch Erland von Koch Jan Koetsier Karl Michael Komma Leslie Kondorossy Marek Kopelent Karl-Heinz Kper William Kraft Bernhard Krol Bernhard Krol Herbert Kster Oddvar S. Kvam Otomar Kvch
orchestra strings orchestra orchestra orchestra strings strings strings orchestra 12 41' 4' 7'
Argo Alba
orchestra orchestra orchestra orchestra mandolin orchestra strings strings 19 12' 20 Breitkopf und Hrtel Kper Verlag Presser Trekel Bote & Bock Bosworth 7' 10' NMIC NMIC US-Wc 12' Billaudot Skarbo Praga
Serenata amorosa, op. 57 Consolazione concerto, op. 70 Bukolische serenade & Notturno Elegy, op. 8 [13] [18]
Harold Laudenslager Elegy (In memoriam) Aubert Lemeland L'automne et ses envols d'tourneaux, op. 145 Divertissement, op. 25 From Erebus and black night Luminous Voice The World's Ransoming
English horn
[19]
45
1962 orchestra 20' Bruzzichelli BVHaast; Col Legno BVHaast; Col Legno
Bruno Maderna
Concerto n.1
Bruno Maderna
Concerto n.3
[6] [7]
1973
orchestra
17'
Ricordi
Johann Michael Malzat Johann Michael Malzat Fritz Mareczek John Marvin Nicholas Maw Hardy Mertens
Concerto in E-flat
1785
orchestra
Concerto in F
1785
orchestra
Sommerabend am Berg Concerto Concerto Tone poem "Queen of Sheba", op. 125 Concerto in B-flat Elm St, Fairbury, Illinois Monologue Abendempfindung im Gebirge, op. 12
Anton Milling Walter Mourant Alexandros Mouzas Bernhard Eduard Mller Hans Mller-Talamona Vazgen Muradian Gsta Nystroem Leroy Osmon Ian Parrott Gustaf Paulson Gustaf Paulson Krzysztof Penderecki Alain Perron
Ballata
1989
orchestra
Concerto, op. 80 Ett litet intermezzo A Lonely Moment Wakens Concerto Concerto nr 1, op. 99 Concerto nr 2, op. 103 Adagietto from the "Paradise Lost"
orchestra strings harp strings orchestra strings timpany strings strings 5' SMIC RBC Novello SMIC SMIC MS Dux
Double clat
[20]
1992
orchestra
8'
Doberman
Vincent Persichetti
[16]
1977
strings
24'
Elkan
orchestra orchestra orchestra harp strings 9' 5' Berliner AMP 8+ records Torofon Capriccio; Delos; Naxos
Juan Bautista Plaza David L. Post Archibald James Potter Mel Powell
Elega Concerto Madra Lath na Mara (Grey Dog of the Sea) [22] Cantilena concertante
1948
orchestra
Schirmer
English horn
46
Concerto 1986 orchestra
1811
orchestra
McGinnis & Marx; Amadeus Emerson 15' 23' 14' 18' 18' Shawnee Boosey & Hawkes ACE
Philips
Alan Ridout Richard Rijnvos Ned Rorem Ronald Roseman Arnold Rosner Arne Running Marjorie M. Rusche Josef Rut Herman Sandby Franois Sarhan
1979 2007 1992 1983 1967 1982 1974 1983 1950 2004
strings orchestra orchestra strings harp strings strings orchestra strings harp strings orchestra 12' 15'
Wirripang
New World
Concertion (or Chanson) Five meditations, op. 36 Concertino, op. 4 [25] Concerto Concerto Romance Cinq pices: "tudes pour la Fleur inverse Concerto Chamber Concerto Abendlndisches Lied [26] Casi un Tango Concerto The Swan of Tuonela, op. 22/3 Concerto
Laurel CRI
Skandinavisk
Josef Schelb Harold Schiffman Wolfgang-Andreas Schultz Jos Serebrier Larry Shackley Jean Sibelius Stanislaw Skrowaczewski Vilnis mdbergs Hale Smith Robert Edward Smith Vladimr Soukup Simeon Stafford Jack Stamp Christopher Stanichar Hans Steinmetz David Stock Wolfgang Stockmeier Jan Stoeckart Allan Burrage Stout
Antes North/South
6'
BIS
9' 18'
Doblinger Schirmer
18'
Musica Baltica
Suite Pastorale
[27]
1975 1955
9'
Orlando Peters
Intermezzo, op. 4
Otto Strobl
Musik
1994
10'
English horn
47
Chorale from 15th Century, op. 52f Concerto Orpheus 1993 2006 1969 strings orchestra orchestra Peters 4'
Tomas Svoboda Keith Templeman Johannes Paul Thilman John Thow Roger Trefousse Paul Turok Paul Turok Pteris Vasks
Giulio Viozzi Berthe di Vito-Delvaux Henk de Vlieger Lodewijk de Vocht Gustave Vogt Gustave Vogt Zbynek Vostrak Alarich Wallner Fried Walter
1994 1965
strings orchestra 9
Pizzicato
Concerto
[28]
orchestra strings orchestra orchestra strings percussion orchestra strings harp glockenspiel orchestra strings strings orchestra harp orchestra orchestra strings percussion strings strings orchestra orchestra orchestra
20
Traunsee
1950 1990 1973 2006 1946 1955 1962 2003 1944 1965 1892 1947
Joseph Pollard White Concerto Michel Wibl Michel Wibl Michel Wibl Peter Wiegold Alec Wilder Robert Wittinger Hugo Wolf Ermanno Wolf-Ferrari Pavel Zemek Richard Zettler Nocturne Ballade Rapsodia Earth, receive an honoured guest Air Consonante, op. 5 Italian serenade [31]
Serenade Concerto
2004 1966
orchestra winds
English horn
48
Benjamin Ashkenazy Robert George Barrow Stefano Bellon Michael Berkeley Victor Bruns
1986 piano
orchestra
Donemus
orchestra
Concerto, op. 74
1982 flute
Breitkopf
1940 trumpet
strings
10'
46+ recordings
1953 oboe 1990 oboe, oboe d'amore 1985 oboe, oboe d'amore 1962 flute, violin
orchestra orchestra
Trittico
orchestra
Decca
Johannes Driessler Roderick Elms Harold Farberman Josef Fiala Eugene Goossens Percy Grainger
strings
orchestra strings
orchestra orchestra
20'
Colleen Dhas (The Valley Lay Smiling) Concertino pastorale Serenade Gulbenkian-Concerto
strings
4'
Bardic
Jozef Gresak Gary Hayes Harald Heilmann Arthur Honegger Alan Hovhaness Charles Ives
Concerto da Camera
1948 flute
strings
17'
Salabert
12+ recordings
Anahid op.57
14'
Peters
Crystal
The Rainbow
[32]
1914 flute
2'
Peer Music
orchestra
Sikorski
English horn
49
Episodi 1982 oboe strings 15' Editio Musica Kper Hungaroton
Miklos Kocsar
Karl Heinz Kper David I. Krivitsky Riccardo Malipiero Ignaz? Malzat Ignaz? Malzat Clark McAlister Louis Moyse Knut Nystedt
Concertino Tricolore
strings
12'
Double concerto
strings
Composizione concertata
1982 oboe, oboe d'amore 1792 English horn 1799 bassoon [33] 1996 double bass
strings
14'
Suvini Zerboni
Arietta e rondo Variazione e cantabile Elegia para Quijote y Quijana Marlborian concerto No. 2 Concertino, op. 29 [13]
Joo Guilherme Abertura Concertante Ripper Irving Robbin Concerto for oboes and strings
1999 oboe
orchestra
1983 oboe, oboe d'amore 1999 oboe oboe 2002 soprano, viola
strings
Alec Roth Helmut Sadler Nicola Scardicchio Othmar Schoeck Max Schubel Max Schubel Rodion Shchedrin Heinrich Simbriger Robert Starer
Departure of the Queen of Sheba Dialog-Szenen Kemit, canti e danze del giovane Horus Serenade, op. 27
1930 oboe
strings
5'
CPO
Elation "Uniesienie" Aquirelle Shepherd's Pipes of Vologda (Hommage to Bartk), op. 91 Elegie, op. 94
1963 violin
strings
12'
Concerto a quattro
orchestra
22'
MCA
MMC
Clive Strutt
22'
SMC
1937 flute, bassoon 1997 trombone, contrabass clarinet 2004 bass clarinet, viola
13'
Francis Thorne
Triple Concerto
orchestra
23'
Presser
English horn
50
Triple Concerto in D-major 2005 oboe, oboe d'amore 1971 harpsichord 2000 soprano saxophone 2000 harp strings, harpsichord strings strings 15' 16' Salabert JDA Thuri
Hy Vong 14
Gauguin
strings
20'
Urtext
Triune
Mathieu Vibert Nocturne Graham Whettam Isang Yun Les Roseaux Au Vent
Duetto concertante
1987 oboe
strings
18'
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 148152.
English horn
[25] http:/ / www. arnerunning. com/ ehorch. html [26] http:/ / www. wolfgangandreasschultz. de/ abldlied. htm [27] Using the pseudonym Julius Steffaro [28] Orchestration of Sonate in F minor by Carlo Yvon (http:/ / www. henkdevlieger. nl/ yvon. htm) [29] 2nd movement of otherwise lost Concerto. Charles David Lehrer, An Introduction to the 16 Oboe Concertos of Gustave Vogt (http:/ / www. idrs. org/ Publications/ Journal/ JNL16/ JNL16. Lehrer. Vogt. html) [30] http:/ / www. idrs. org/ scores/ Lehrer/ DRArch/ 27VogtZingarelli. html [31] Wolf originally orchestrated his serenade for English horn and orchestra, but in the final version (finished by Max Reger in 1903), the solo English horn was replaced by a solo viola (http:/ / books. google. com/ books?id=NcIRAAAAYAAJ) [32] At 1:53 minutes hardly a "concerto". [33] Joseph Stevenson, review (http:/ / www. allmusic. com/ work/ c220400) at allmusic.com [34] http:/ / books. google. com/ books?id=AJj_ijFLjv4C [35] http:/ / idrs2. colorado. edu/ caldini/ cor%20anglais. html [36] http:/ / books. google. com/ books?id=G4d733-Tlt4C
51
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
Michel Blavet Concerto in A minor Georg Philipp Telemann Concerto in F major
Antonio Vivaldi Concerto in F major for Flute ("La Tempesta di Mare"), RV 433 (Op. 10, No. 1), RV 98 and RV 570 Concerto in G minor for Flute ("La Notte"), RV 439 (Op. 10, No. 2) Concerto in D major for Flute ("Il Gardellino"), RV 428 (Op. 10 No. 3) Concerto in G major for Flute, RV 435 (Op. 10, No. 4) Concerto in F major for Flute, RV 434 (Op. 10, No. 5) Concerto in G major for Flute, RV 437 (Op. 10, No. 6) Concerto in C major for 2 Flutes, RV 533
Johann Joachim Quantz (16971773) - author of over 300 concertos for the flute. Concerto in G major Concerto in C minor
Flute concerto
52
Classical
C.P.E. Bach (17141788) Flute Concerto in D major Flute Concerto in G major H.445 (Wq.169) Flute Concerto in D minor H.426 Flute Concerto in A major H.438 (Wq.168) Leopold Hoffmann Concerto in D major
Wolfgang Amadeus Mozart Concerto for Flute and Harp Flute Concerto No. 1 Flute Concerto No. 2 - originally written as an Oboe Concerto but now also firmly part of the flute repertoire.
Franz Danzi Concerto No. 1 in G major Concerto No. 2 in D minor Concerto No. 3 in D minor Concerto No. 4 in D major
Franois Devienne Concerto No. 2 in D major Concerto No. 3 in G major Concerto No. 7 in E minor Concerto No. 10 in D major Antonio Rosetti Flute Concerto in G major Flute Concerto in C major Flute Concerto in F major
Antonio Salieri Concerto for Flute, Oboe and Orchestra (1774) Concertino da camera for Flute and Strings (1777)
Peter von Winter Flute Concerto No. 1 in D minor Flute Concerto No. 2 in D minor
Flute concerto
53
Romantic
Franz Doppler Camille Saint-Sans Odelette, Op. 62
Saverio Mercadante Concerto in D major Concerto in E major Concerto in E minor Concerto in F major (2 movements)
Pyotr Ilyich Tchaikovsky Concertstuck for flute and strings TH 247 (unfinished)
Modern
Samuel Adler Concerto for Flute and Orchestra (1977) Howard Hanson Serenade for Solo Flute, Harp and String Orchestra
Robert Aitken Concerto for Flute and String Orchestra (Shadows V). (1999)
Pierre Boulez ...explosante-fixe..., for MIDI-flute, chamber orchestra and electronics (19721993)
Robert J. Bradshaw Concerto No. 2 for Catherine, for flute, violin, orchestra and/or piano
Flute concerto
54
Joaqun Rodrigo Concierto pastoral, for flute and orchestra (1978)
Henry Brant Ghosts & Gargoyles Concerto for flute solo with flute orchestra (2002)
John Carmichael Concerto for Flute and Orchestra: Phoenix Concerto 2222-4331 perc, harp, string, timpani
John Corigliano Concerto for Flute and Orchestra: Pied Piper Fantasy
Toru Takemitsu Toward the Sea II, for alto flute, harp, and string orchestra
Jean Franaix Double Concerto for Flute, Clarinet and Orchestra Flute Concerto (1967)
Melinda Wagner Concerto for Flute, Strings and Percussion (Pulitzer Prize winner 1999)
Gordon Jacob Concerto for Flute and String Orchestra op.1 Concerto for Flute and String Orchestra op.2
Aram Khachaturian Concerto for Flute and Orchestra - originally written as a Violin concerto but now firmly part of the flute repertoire.
Lowell Liebermann Concerto for Flute and Orchestra Op.39 (1992) Concerto for Flute, Harp and Orchestra Op.48 (1995)
Flute concerto
55
Aaron Avshalamov Flute Concerto
Olivier Messiaen Concert quatre ("Quadruple concerto"), for piano, flute, oboe, 'cello and orchestra (199091)
Arthur Foote Nocturne and Scherzo for Flute and String Orchestra
Sir Malcolm Arnold Concerto for Flute and Strings Flute Concerto No. 2
Eduardo Angulo Flute Concerto Double Concerto for Flute and Harp
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. Such works include: Malcolm Arnold: Concerto for Harmonica and Orchestra, Op. 46 (1954) composed for Larry Adler Milton Barnes - Concerto for Harmonica and Strings composed for Tommy Reilly Arthur Benjamin - Harmonica Concerto (1953) composed for Larry Adler Robert Russell Bennett - Concerto (1974) Jean Berger - Caribbean Concerto (1940) composed for Larry Adler Francis Chagrin - Romanian Fantasy (1956) composed for Larry Adler Henry Cowell Concerto for Harmonica and Orchestra (1962) composed for John Sebastian Norman Dello Joio - Concertino for Harmonica and Orchestra (1948) composed for John Sebastian
Harmonica concerto Brett Deubner - Concerto for Harmonica and Orchestra Leo Diamond - Skin Diver Suite (1956) Robert Farnon - Prelude and Dance for Harmonica and Orchestra (1966 - for Tommy Reilly) Walter Girnatis - Concertino Sigmund Groven: Legends, for Harmonica and Strings (2003) Richard Hayman - Concerto (1978) Hugo Herrmann - Concertino (1948) Alan Hovhaness - Concerto No. 6, op. 114 (1953-4)
56
composed for John Sebastian Gordon Jacob - Divertimento (1957) composed for Larry Adler Gordon Jacob - Five Pieces for harmonica and piano (1957; also arranged for harmonica and orchestra) composed for Tommy Reilly Gordon Jacob: Introduction and Galop for Two Harmonicas and Strings (1976, for Tommy Reilly and Sigmund Groven) Egil Kapstad: Prelude for Harmonica and Orchestra (2008, for Sigmund Groven) George Kleinsinger - Street Corner Concerto (1942) composed for John Sebastian Karl-Heinz Kper - Concerto for Harmonica and Orchestra, Op. 12 (1961) composed for Tommy Reilly Oddvar S.Kvam: Colours, for Harmonica and Strings (1996, for Sigmund Groven) Serge Lancen - Concerto (1958) composed for Larry Adler Alan Langford: Concertante for Harmonica and Strings (1981, for Tommy Reilly) Howard Levy - Concerto for Diatonic Harmonica and Orchestra the first concerto for diatonic harmonica and orchestra Frank Lewin - Concerto for Harmonica and Orchestra (1960) composed for John Sebastian George Martin: Three American Sketches for Harmonica and Strings (1980, for Tommy Reilly) George Martin: Adagietto for Harmonica and Strings (1985, for Tommy Reilly) Darius Milhaud - Suite anglaise for harmonica (or violin) and orchestra, Op. 234 (1942) composed for Larry Adler James Moody - Toledo, Spanish Fantasy for Harmonica and Orchestra (1960, for Tommy Reilly) James Moody: Little Suite for Harmonica and Orchestra (1960, for Tommy Reilly) James Moody: Period Piece for Harmonica and Orchestra (1964, for Tommy Reilly) James Moody: Innis Fallen for Harmonica and Orchestra (1965, for Tommy Reilly) James Moody: Divertissement for Harmonica and Orchestra (1967, for Tommy Reilly) James Moody: Cosmos, for Harmonica and Orchestra (1970, for Tommy Reilly) James Moody: From Other Days, for Harmonica and Strings (1970, for Tommy Reilly) James Moody: Quintet for Harmonica and String Quartet (1972, for Tommy Reilly) James Moody: Suite dans le style franais, for harmonica and harp (1979, for Tommy Reilly) James Moody: Jacaranda for Harmonica and Orchestra (1984, for Tommy Reilly) A. J. Potter - Concertino (1967)
Les Reed: Niagara Suite for Harmonica and Orchestra (1985, for Tommy Reilly) William Russo - Street Music, A Blues Concerto
Harmonica concerto 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) istein Sommerfeldt: Harmonica Fantasia (1979, for Sigmund Groven) Henning Sommerro: Concertino for Harmonica and Orchestra (2008. for Sigmund Groven) Michael Spivakovsky - Concerto (1951)
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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.
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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.
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External links
http://piano-concertos.org/- a list of classical and romantic piano concertos
Oboe concerto
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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. These include concertos by the following composers:
Baroque
Tomaso Albinoni Johann Sebastian Bach Joseph-Hector Fiocco Christoph Graupner George Frideric Handel Alessandro Marcello Johann Joachim Quantz Alessandro Scarlatti Georg Philipp Telemann Antonio Vivaldi
Classical
Carl Philipp Emanuel Bach Johann Christian Bach Ludwig van Beethoven[1] Carlo Besozzi Domenico Cimarosa Josef Fiala Joseph Haydn William Herschel Ignaz Holzbauer Johann Nepomuk Hummel Franz Krommer Ludwig August Lebrun Wolfgang Amadeus Mozart Antonio Rosetti Antonio Salieri Carl Stamitz
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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 William Alwyn David Amram Hendrik Andriessen Louis Andriessen Malcolm Arnold Tadeusz Baird Leonardo Balada Samuel Barber Sally Beamish David Bedford Richard Rodney Bennett Luciano Berio Lennox Berkeley Michael Berkeley John Biggs Benjamin Britten Anthony Burgess Elliott Carter Mario Castelnuovo-Tedesco John Corigliano Henry Cowell Peter Maxwell Davies Edison Denisov Antal Dorti Bill Douglas Jol-Franois Durand Ross Edwards Edward Elgar Morton Feldman Lukas Foss Jean Franaix John Gardner Eugene Goossens Helen Grime John Harbison Jonathan Harvey Christos Hatzis Hans Werner Henze Frigyes Hidas Jennifer Higdon Heinz Holliger Gustav Holst Arthur Honegger Jacques Ibert Gordon Jacob John Joubert Jouni Kaipainen Graeme Koehne Thomas Oboe Lee Gyrgy Ligeti Robert Linn Malcolm Lipkin Bent Lorentzen Witold Lutosawski Salvatore Macchia Bruno Maderna Ursula Mamlok Frank Martin Bohuslav Martin Nicholas Maw Darius Milhaud Anthony Milner Paul Moravec David Mullikin Thea Musgrave Arne Nordheim Sean Osborn Krzysztof Penderecki Haim Permont Osmo Tapio Rihl Bernard Rands Alan Rawsthorne Wolfgang Rihm George Rochberg Christopher Rouse Edwin Roxburgh Andrey Rubtsov Poul Ruders Harald Sverud Esa-Pekka Salonen Sven-David Sandstrm Peter Schickele Alfred Schnittke Leif Segerstam Roger Steptoe Hilary Tann John Tavener Joan Tower Ralph Vaughan Williams Carl Vine Gwyneth Walker Grace Williams Ermanno Wolf-Ferrari John Woolrich Marco Aurelio Yano Isang Yun Bernd Alois Zimmermann Ellen Taaffe Zwilich Michael Zev Gordon
Dominic Muldowney
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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-Sans, Gustav Holst's The Planets or Richard Strauss's Also sprach Zarathustra.
Organ concerto 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
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BWV592 G major
BWV593 A minor
BWV594 C major
allegro, adagio (A minor), recitativ, allegro - cadenza allegro Uses the first movement only. allegro - grave - fuga, largo e spiccato, finale allegro
Gigue
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Organ concerto
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Eugenio Maria Fagiani (b. 1972): Concerto for Organ and string orchestra Op. 98 (2009) Frederik Magle (1977): Concerto for organ and orchestra "The Infinite Second" (1994)
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References
Concerto pour orgue See the French Wikipedia page for a more complete list.
References
[1] [2] [3] [4] [5] [6] [7] http:/ / www. classical. net/ music/ comp. lst/ works/ bachjs/ cantatas/ 146. php http:/ / www. classical. net/ music/ comp. lst/ works/ bachjs/ cantatas/ 035. php http:/ / www. bach-cantatas. com/ NVP/ Koopman-NV3. htm http:/ / www. carus-verlag. com/ index. php3?BLink=KKWerk& WerkID=7490& Action=kkwerk http:/ / www. carus-verlag. com/ index. php3?BLink=KKWerk& WerkID=7489& Action=kkwerk http:/ / www. guilmant. nl/ 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
Classical and romantic
As the piano developed and became accepted, Performance of a piano concerto involves a piano on stage with the composers naturally started writing concerti for it. This orchestra happened in the late 18th century and so corresponded to the Classical music era. The most important composer in the development of the form in these early stages was Wolfgang Amadeus Mozart. Mozart's body of masterly piano concerti put his stamp firmly on the genre well into the Romantic era. 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, Frdric Chopin, Franz Liszt, Camille Saint-Sans, 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.
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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.
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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.
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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 (19291993) 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)
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G
Giorgio Federico Ghedini Concerto dellAlbatro (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 Martin Concertino H.232 with string orchestra (1933) [5] Concert H.231 (1933) Emnuel Mor 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)
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V
Kevin Volans Trio Concerto (2005) Jan Vclav Voek 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. ISSN0027-4666. JSTOR1193599. [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. ISBN87-598-0813-6. [5] Barnett, Rob (June 2003). "Review of 1997 Recording of Martin 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. OCLC752566. . [7] Farrell, Peter (June 1988). "Music Reviews". Notes: 2nd Series (Music Library Association) 44 (4): 8312. JSTOR941061. [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
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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)
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Romantic Era
Amilcare Ponchielli Concerto per tromba in Fa Oskar Bhme 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).
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Darius Milhaud 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't, Op. 311 (1951) Viola Concerto No. 2, Op. 340 (1955; for William Primrose) ([2]) Air (from Sonata No. 1), Op. 242 (1944)
Malcolm Arnold Viola Concerto with small orchestra, Op. 108 (1971)
Thea Musgrave Lamenting with Ariadne for Viola and Chamber Orchestra
Johann Sebastian Bach Brandenburg Concerto No. 6 (Solo part for two violas)
Alessandro Rolla 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 Concerto No. 1 for Viola and Chamber Orchestra, Op. 53 (1984) Concerto No. 2 for Viola and Orchestra, Op. 104 (1994)
Antonio Rolla (17981837) Variazioni Brillanti in F major for Viola and Orchestra, Op. 13 (1822)
Viola concerto
Boris Blacher Viola Concerto (1954) Julius Rntgen Triple concerto in B-flat major, for violin, viola, cello and strings (1922) Triple concerto for violin, viola and cello (1930) Introduction, Fugue, Intermezzo and Finale for violin, viola, cello
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Ernest Bloch Suite for Viola and Orchestra (1919) Suite hbraque
Hilding Rosenberg Viola Concerto (three versions - 1942, 1964, both for viola and strings, 1945 for larger orchestra) ([5])
Max Bruch Romance for viola and orchestra, Op. 85 Concerto for Clarinet, Viola and Orchestra, Op. 88
Henri Casadesus Concerto in B minor in the style of George Frideric Handel Concerto in C minor in the style of Johann Christian Bach
Rebecca Clarke Sonata for Viola and Orchestra (1919) ([7])-- the sonata for viola and piano orchestrated in 2004-5 by Ruth Lomon
Anton Stamitz Concerto in B-flat major (recordings on Panton and on Koch Schwann CDs, and on a 1980 Supraphon LP. A score was published by Schtt in Mainz and New York in 1972.) Concerto in F major for viola and strings (1779) (Score published by Schtt in 1970. Referred to as concerto no. 2.) Concerto in G major (published by Breitkopf und Hrtel in 1971. Referred to as concerto no. 3. See also the comment under Carl Stamitz.) Concerto in D major (published by Breitkopf und Hrtel in 1973. At least one of Anton Stamitz' concertos was published earlier by Sieber in Paris during the 18th century.)
Carl Stamitz Concerto No. 1 in D major (1774) Concerto No. 2 in B-flat/A major Concerto No. 3 in A major
Johann Stamitz Concertos (at least one, in G major, published by Litolff in 1962. May have been meant for viola d'amore.)
Georg Philipp Telemann Most famously, a Concerto in G major (catalogued as TWV 51:G9) played by many students
Viola concerto
Cecil Forsyth Viola Concerto in G minor (1903)
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Johann Baptist Vanhal Viola Concerto in C major [8] Viola Concerto in F major (according to the Duke university Vanhal page both were originally for violoncello or bassoon)
William Walton Viola Concerto in A minor (192829, revised in 1961. Premiered by Paul Hindemith)
Ralph Vaughan Williams Suite for Viola and Orchestra Suite Flos Campi for Viola, Chorus and Orchestra (technically not a concerto)
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 (195152)
Gordon Jacob Concerto for Viola and Orchestra (1925) Viola Concerto No. 2 (1979) ([11])
Zdenk Luk (born 1928) (Kabel student) Viola Concerto (1983) [14]
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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
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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, Bartk, Beethoven, Berg, Brahms, Bruch, Dvok, Mendelssohn, Mozart, Paganini, Prokofiev, Saint-Sans, Schoenberg, Shostakovich, Sibelius, Tchaikovsky, and Vivaldi. Traditionally a David Oistrakh playing a violin concerto three-movement work, the violin concerto has been 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 orchestrafor 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.
Samuel Barber Violin Concerto, Op. 14 (1939) Bla Bartk Violin Concerto No. 1 (1908) Violin Concerto No. 2 (1938) Ludwig van Beethoven Violin Concerto in D major, Op. 61 (1806) Alban Berg
Violin concerto Violin Concerto "To the memory of an angel" (1935) Johannes Brahms Violin Concerto in D major, Op. 77 (1878) Max Bruch Violin Concerto No. 1 in G minor, Op. 26 (1867) Antonn Dvok Violin Concerto in A minor, Op. 53 (18791880) Edward Elgar Violin Concerto in B minor, Op. 61 (1910) Philip Glass Violin Concerto No. 1 (1987) Violin Concerto No. 2 (2009) Alexander Glazunov Violin Concerto in A minor, Op. 82 (1904) Sofia Gubaidulina Offertorium, concerto for violin and orchestra (198086) In tempus praesens, concerto for violin and orchestra (2007) Joseph Haydn Violin Concerto No. 1 in C major (1760) Violin Concerto No. 3 in A major Violin Concerto No. 4 in G major Hans Werner Henze Violin Concerto No. 1 (1947) Violin Concerto No. 2 (1971) Violin Concerto No. 3 (1996, rev. 2002) Aram Khachaturyan Violin Concerto in D minor (1940) douard Lalo Symphonie espagnole in D minor, Op. 21 (1875) Gyrgy Ligeti Violin Concerto (1990) Felix Mendelssohn Violin Concerto in E minor, Op. 64 (1844) Wolfgang Amadeus Mozart Violin Concerto No. 1 in B-flat major, K. 207 (1773) Violin Concerto No. 2 in D major, K. 211 (1775) Violin Concerto No. 3 in G major, K. 216, Strassburg (1775) Violin Concerto No. 4 in D major, K. 218 (1775) Violin Concerto No. 5 in A major, K. 219, Turkish (1775), with alternative Adagio in E, K.261 (added 1776)
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Violin concerto Niccol Paganini Violin Concerto No. 1 in D major, Op. 6, MS 21 (ca. 181117) Violin Concerto No. 2 in B minor, Op. 7, MS 48, La Campanella (1826) Violin Concerto No. 3 in E major, MS 50 (ca. 182630) Violin Concerto No. 5 in A minor (1830)
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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-Sans 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
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External links
Anthology of 20th century violin concertos [1]
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Examples
Bassoon Bassoon Concerto (Mozart)
The Bassoon Concerto in B flat major, K. 191/186e, written in 1774 by Wolfgang Amadeus Mozart, is the most standard piece in the entire bassoon repertory.[1] Nearly all professional bassoonists will perform the piece at some stage in their career, and it is probably the most commonly requested piece in orchestral auditions it is usually requested that the player perform the excerpts from concerto's first two movements in every audition. Although the autograph is lost, the exact date of the finishing is known: 4 June 1774[2] . Mozart wrote the bassoon concerto when he was 18 years old, and it was his first concerto for a wind instrument.[3] Although it is believed that it was commissioned by an aristocratic amateur bassoon player Thaddus Freiherr von Drnitz, who owned seventy-four works by Mozart, this is a claim that is supported by little evidence.[4] Scholars believe that Mozart wrote perhaps three bassoon concerti, but that only the first has survived.
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 fr Fagott und Orchester. Kassel: Brenreiter-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>
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External links
Konzert in B fr 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 191920 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) 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]
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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. 2. 3. 4. Adagio Moderato (approx. 8:00) Lento Allegro molto (approx. 4:30) Adagio (approx. 4:50) Allegro Moderato Allegro, ma non troppo Poco pi 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 pi 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.
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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 Pr 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 Pr 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 Pr'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 Pr'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 Mrk (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. 18589. [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, Dvok 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. 20809 [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 Hall 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. 42426
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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. OCLC8858707.
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 Pr 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) 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 MozartStadler circle that used the extended range of Stadler's instrument: the clarinet concerto by Franz Xaver Sssmayr (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.
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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 156 Solo exposition: bars 57154 Ritornello: bars 154171 Development: bars 172227 Ritornello: bars 227250 Recapitulation: bars 251343 Ritornello: bars 343359[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.
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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 156) 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-upmanshipthe more definitive the statement made by the orchestra, the more virtuosic the response by the clarinet.[4] The first episode (bars 57113) features chromaticism and dramatic lines custom-written for the basset clarinet with its low extension. The refrain (114137) is heard again in a slightly simpler manner, and the music modulates to F minor. The second episode (bars 137187) 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 188246) 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 247301) is heard for the final time, exactly as presented in the opening, before proceeding to the coda (bars 301353). 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): 359362. doi:10.2307/951470. JSTOR951470. [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): 152191. . Retrieved 2007-01-25. [4] Lawson, Colin (1996). Mozart: Clarinet Concerto. Cambridge, England: Cambridge University Press. ISBN978-0-521-47929-5. [5] Rosen, Charles (1997). The Classical Style: Haydn, Mozart, Beethoven (http:/ / books. google. com/ ?id=vGdcINvz9n4C& dq=isbn=0393040208). New York: W. W. Norton. ISBN0-393-04020-8. OCLC35095841. . Retrieved 2008-01-13.
External links
Konzert in A fr 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.
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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 Andr Navarra, Hall Orchestra cond. John Barbirolli.[21]
Double Double Concerto (Brahms) Josef Suk and Andr Navarra, Czech Philharmonic Orchestra cond. Karel Anerl (c.1963).[22] Willi Boskovsky and Emanuel Brabec,[23] Vienna Philharmonic Orchestra cond. Wilhelm Furtwngler (1950 live recording).[24] Wolfgang Schneiderhan and Enrico Mainardi,[25] Vienna Philharmonic Orchestra cond. Karl Bhm.[26] Wolfgang Schneiderhan and Jnos Starker, Orchestra of Radio-Symphonie Berlin cond. Ferenc Fricsay.[27] Henryk Szeryng and Jnos Starker, Royal Concertgebouw Orchestra cond. Bernard Haitink.[28] Emmy Verhey and Jnos Starker, Amsterdam Philharmonic Orchestra cond. Arpad Jo.[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 Mrk, Leipzig Gewandhaus Orchestra cond. Riccardo Chailly.[49] Gil Shaham and Jian Wang, Berliner Philharmoniker cond. Claudio Abbado.[50]
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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): 503526. 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): 117133. doi:10.2307/854245. ISSN0262-5245. JSTOR854245. [7] Wollenberg, Susan (February 1993). "Reviews of Books: Beitrge zur Geschichte des Konzerts: Festschrift Siegfried Kross zum 60. Geburtstag (eds. Reinmar Emans and Matthias Wendt". Music & Letters 74 (1): 7781. doi:10.1093/ml/74.1.77. ISSN0027-4224. JSTOR735204. [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): 99113. doi:10.2307/3331623. ISSN0021-8510. JSTOR3331623. [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): 940. doi:10.2307/854168. ISSN0262-5245. JSTOR854168.
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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
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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
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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) 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.
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Harpsichord Harpsichord concertos (Bach) 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. Concerto II in E major, BWV 1053 1. Allegro 2. Siciliano 3. Allegro Scoring: harpsichord solo, violin I/II, viola, continuo (cello, violone) Length: c. 19 minutes This harpsichord concerto is thought to be based on a concerto for a wind instrument, probably oboe or oboe d'amore, and from stylistic considerations, it may have dated from Bach's time in Leipzig. It exists, like BWV 1052, in a later transcription in his cantatas Gott soll allein mein Herze haben, BWV 169 and Ich geh und suche mit Verlangen, BWV 49, from which further inferences can be made about the original concerto. Bach changed his method of arrangement with this work, significantly altering the ripieno parts from the original concerto for the first time, limited much more to the tutti sections. The lower string parts were much reduced in scope, allowing the harpsichord bass to be more prominent, and the upper strings were likewise modified to allow the harpsichord to be at the forefront of the texture. Concerto III in D major, BWV 1054 1. Allegro 2. Adagio e piano sempre 3. Allegro Scoring: harpsichord solo, violin I/II, viola, continuo (cello, violone) Length: c. 17 minutes The surviving violin concerto in E major, BWV 1042 was the model for this work, which was transposed down a tone to allow the top note e''' to be reached as d''', the common top limit on harpsichords of the time. The transcription process was based on the same principles as BWV 1053. Concerto IV in A major, BWV 1055 1. Allegro 2. Larghetto 3. Allegro ma non tanto Scoring: harpsichord solo, violin I/II, viola, continuo (cello, violone) Length: c. 14 minutes Probably based on a lost concerto for oboe d'amore, this is a mature and formally concentrated work. There exists a figured bass continuo part for this concerto, which was added later, probably for a particular occasion at which a second harpsichord, chamber organ or theorbo filled out the harmony of the continuo bass.
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Harpsichord Harpsichord concertos (Bach) Concerto V in F minor, BWV 1056 1. Allegro moderato 2. Largo 3. Presto Scoring: harpsichord solo, violin I/II, viola, continuo (cello, violone) Length: c. 10 minutes The outer movements probably come from a violin concerto which was in G minor, and the middle movement is probably from an oboe concerto in F major; this movement is also the sinfonia to the cantata Ich steh mit einem Fu im Grabe, BWV 156. Concerto VI in F major, BWV 1057 1. Allegro 2. Andante 3. Allegro assai Scoring: harpsichord solo, flauto dolce (recorder) I/II, violin I/II, viola, continuo (cello, violone) Length: c. 17 minutes A transcription of Brandenburg concerto no.4, BWV 1049; because it also involves parts for two solo recorders, this is a concerto grosso. The harpsichord mainly plays the original violin part, but also takes on the material of the recorders-violin trio in the slow movement, plays with the recorders in four-part harmony, plays a reduction of the fugal material with the strings in the last movement, and, when doing nothing else, plays a lavishly written-out continuo. Bach probably placed this concerto as the last of the set intentionally, as the pinnacle of the series, due to the richness of instrumental color produced by the three families of instruments, and the extraordinarily varied and effective harpsichord part.
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Harpsichord Harpsichord concertos (Bach) Concerto in D minor, BWV 1059 1. No Tempo Indication Scoring: harpsichord solo, oboe, violin I/II, viola, continuo (cello, violone) Length: c. 20 seconds Fragment consisting of 9 bars. Taken from the opening Sinfonia of the Cantata, BWV 35 Geist und Seele wird verwirret (1726) In the cantata, Bach uses an obbligato organ not only in the two sinfonias (which evidently form the first and last movements of a lost instrumental concerto, possibly for oboe) but also in the aria No. 1, whose siciliano character likewise points to its original function as a concerto movement. Bach intended to write this out as a harpsichord concerto but abandoned the endeavor after only 9 bars. Some modern scholars have constructed a proposed harpsichord or oboe concerto from BWV 35.
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Harpsichord Harpsichord concertos (Bach) Concerto in C major, BWV 1061 1. Allegro 2. Adagio ovvero Largo 3. Fuga Scoring: harpsichord I/II solo, violin I/II, viola, continuo (cello, violone) Length: c. 19 minutes Of all Bach's harpsichord concertos, this is probably the only one that originated as a harpsichord work, though not in an orchestral guise. The work originated as a concerto for two harpsichords unaccompanied (in the manner of the Italian Concerto, BWV 971), and the addition of the orchestral parts may not have been by Bach himself. The string orchestra does not fulfil an independent role, and only appears to augment cadences; it is silent in the middle movement. The harpsichords have much dialogue between themselves and play in an antiphonal manner throughout. Concerto in C minor, BWV 1062 1. 2. Andante 3. Allegro assai Scoring: harpsichord I/II solo, violin I/II, viola, continuo (cello, violone) Length: c. 15 minutes The well-known concerto for two violins in D minor, BWV 1043 is the basis of this transcription. It was transposed down a tone for the same reason as BWV 1054, so that the top note would be d'''.
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Harpsichord Harpsichord concertos (Bach) Concerto in C major, BWV 1064 1. Allegro 2. Adagio 3. Allegro assai Scoring: harpsichord I/II/III solo, violin I/II, viola, continuo (cello, violone) Length: c. 17 minutes This concerto was probably based on an original in D major for three violins, and shows some similarity with that for two violins/harpsichords, BWV 1043/1061, in the interaction of the concertino group with the ripieno and the cantabile slow movement.
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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, Brenreiter) 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) 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
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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]
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References
[1] Mozart, W. A.; Giegling, Franz (foreword) (2003). Konzert in C fr Oboe und Orchester. Klavierauszug. Kassel: Brenreiter-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 57, 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 Bartk's move to the United States from his native Hungary, which he had fled because of World War II. It has been speculated that Bartk'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] Bartk 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.
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Musical analysis
Bartk 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] Bartk 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] The piece is scored for 3 flutes (one doubling piccolo), 3 oboes (one doubling The second theme of the first movement (measure 155). The harp, which plays a cor anglais), 3 clarinets (one doubling bass quarter note (F sharp) in the last measure, is omitted. clarinet), 3 bassoons (one doubling contrabassoon), 4 horns, 3 trumpets, 3 trombones, tuba, timpani, side drum, bass drum, cymbals, triangle, tam-tam, 2 harps and strings.[3]
Orchestra Concerto for Orchestra (Bartk) 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 Bartk 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 Bartk 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]
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V. Finale. Presto
The fifth movement, called Finale by Bartk 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] [2] [3] [4] Cooper, David (1996). Bartk: Concerto for Orchestra. Cambridge: Cambridge University Press. ISBN0521485053. Bartk, Bla. "Explanation to Concerto for Orchestra," for the Boston premiere at Symphony Hall. Bartk, Bla (2004). Concerto for Orchestra (Score). New York: Boosey & Hawkes. ISBN0851621899. Peter Bartk, "Preface to the Revised Edition, 1993", in Bla Bartk, Concerto for Orchestra: Full Score, revised edition, [iiiv] (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, Bartk 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.
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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 Franaix, 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 Franaix, "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 Durufl.[2] Durufl 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 Durufl once again the soloist and Roger Dsormire 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 champtre 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 Cavaill-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, Trs 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.
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Recordings
Organist Michael Murray Peter Hurford Simon Preston Philippe Lefebvre Ian Tracey Conductor Robert Shaw Charles Dutoit Seiji Ozawa Record Label Telarc Decca Records Record Release Date 1990 1993
Jean-Claude Casadesus Naxos Records Yan Pascal Tortelier Chandos Records Apex Records Linn Records EMI Classics Ondine Records
Marie-Claire Alain Jean Martinon Gillian Weir Maurice Durufl Olivier Latry David Hill Georges Prtre Christoph Eschenbach
References
[1] [2] [3] [4] (http:/ / www. spinningdogrecords. com/ ndckd180. html) (http:/ / www. classicalarchives. com/ work/ 110480. html#tvf=tracks& tv=about) Apex Records Publication 8573 892442 (http:/ / www. classicalarchives. com/ work/ 110488. html#tvf=all& tv=about)
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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 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.
The agitated and unstable development borrows motives from both themes changing keys very often and giving the melody to different instruments while a new musical Main theme first played by the two violin sections, viola section and first clarinet idea is slowly formed. The music builds in a huge climax as if the work was going to repeat the first bars of the work, but the recapitulation is going to be quite different. While the orchestra restates the first theme, the piano, that in the other occasion had an accompaniment role, now plays the march-like theme that had been halfly presented in the development, thus making a considerable readjustment in the exposition, as the main theme, played by the orchestra has become an accompaniment. This is followed by a piano solo, which leads into a descending chromatic passage and concluding with an eerie French horn solo. From here the last minutes of the movement are placid until drawn into the agitated coda, and the movement
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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 ( ) 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
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Notes
[1] Harrison, Max (2006). Rachmaninoff: Life, Works, Recordings. London: Continuum. pp.9299. ISBN0-8264-9312-2. [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.113115. ISBN0-02-870685-4. . [5] Steinberg, Michael (1998). The Concerto. Oxford University Press. p.357358. ISBN0-19-513931-3. [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.101163. ISBN0-486-29114-6. 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.914 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): 188193 Culshaw, John (1950), Rachmaninov: The Man and His Music, New York: Oxford University Press, pp.7884 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): 2535 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.
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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.
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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 fr 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] [2] [3] [4] http:/ / dme. mozarteum. at/ DME/ nma/ nma_cont. php?vsep=135& gen=edition& l=1& p1=57 http:/ / dme. mozarteum. at/ DME/ nma/ nma_cont. php?vsep=136& l=1& p1=29 http:/ / www. viola-in-music. com/ Mozart_Sinfonia_Concertante. html 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) 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.
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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.
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External links
Trumpet Concerto: Free scores at the International Music Score Library Project.
Viola Viola Concerto (Bartk) Development (mm. 81-147) The Development begins with the primary theme from bar 1. This time, however, the 2nd Horn plays the first note. This variation technique is typical of Bartok's works. He aspired to always avoid any literal repetition of thematic material, and altered subsequent repetitions by using techniques such as ornamentation, elaboration, varied instrumentation, and new harmonization. The primary theme is developed. In measure 87, the opening interval is a tritone, instead of a minor 6th. In measure 95, the viola part is inverted, with an implied starting pitch of B dim., which foreshadows the eventual C resolution in the coda. Measure 102 is in B major. Measure 116 is an intervalic and harmonic inversion of measure 112. A cadenza begins in measure 127. Recapitulation (mm. 147-207) The first tonal area and primary theme are in mm.147-162. This time the primary theme is played by the flute while the viola noodles around. The chord is an F7 chord, giving further weight to the B tonality of the primary theme. The second tonal area and "middle theme" are in mm. 162-185. A cadence starts this "middle theme." E minor is the first key. The mediant alteration from the C minor of the Exposition is interesting, because since this theme is between the primary and secondary areas, it is only harmonically shifted halfway in the Recapitulation. This time the harmonic sequencing is by thirds instead of by fifths, as in the Exposition. (c, g, d, a in Exposition and e, g, c, a in Recapitulation). The third tonal area and secondary theme are in mm. 185-207. This starts on an A in the viola part this time, which is the type of transposition one typically expects of the secondary theme in the Recapitulation of a sonata form piece. Coda (mm. 207-230) The Coda starts with the Consequent portion of the 8-bar theme from the opening of the piece. The opening viola line is pentatonic, in that there are no 'A's or 'D's. This is strongly in C with elements of both minor and major. The second half of the 4 bar phrase also has mode alterations. This movement ends on a C major triad.
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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 Bartk", Grove Music Online ed. L. Macy (Accessed June 25, 2005), (subscription access) (http://www.grovemusic.com) Maurice, Donald. Bartk's Viola Concerto: The Remarkable Story of His Swansong. New York: Oxford University Press, 2004. ISBN 0-19-515690-0
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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]
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Notes
[1] [2] [3] [4] Eulenburg pocket score, preface, p.3 Eulenburg pocket score, p. 3 Steinberg, M. The concerto: a listener's guide, page 81. Oxford University Press, 1998. Ludwig van Beethoven. Konzert fr Violine & Orchester D-dur Opus 61.[sterreichische 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 fr Violine & Orchester D-dur Opus 61. (Facsimile edition of autgraph full score) sterreichische 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 Brenreiter edition of Beethovens violin concerto (http://www.neokitsch.com/2010/12/ the-new-barenreiter-edition-of-beethovens-violin-concerto/)
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Concertos by composer
Concertos by Christoph Graupner
The following is a complete list of concertos by Christoph Graupner, as given in Christoph Graupner : Thematisches Verzeichnis der Musikalischen Werke (thematic catalogue of Graupner's instrumental works).[1]
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 GWV 337 Violin Concerto in A major GWV 338 Concerto for 2 violins in A major GWV 339 Concerto for viola d'amore & viola in A major GWV 340 Bassoon Concerto in B flat major GWV 341 Concerto for 2 oboes in B flat major GWV 342 Concerto for 2 oboes in B flat major GWV 343 Concerto for chalumeau, oboe & viola d'amore in B flat major GWV 344 Concerto for 2 flutes & 2 oboes in B flat major GWV 725 Concerto for flute & viola d'amore in D minor GWV 726 Concerto for viola d'amore in G major GWV 727 Flute Concerto in A major GWV 728 Concerto for flauto d'amore in A major
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Selected discography
Graupner: Ritratti a colori (Concertos). Antichi Strumenti, orchestra. (Stradivarius 33581) Graupner: Instrumental and vocal music Vol. 1. Les ides heureuses, orchestra. (Analekta 3162) Graupner: Instrumental and vocal music Vol. 2. Les ides heureuses, orchestra. (Analekta 3180) Graupner: Instrumental and vocal music Vol. 3. Les ides 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)
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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 r 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 bmol majeur, pour violon et cordes (2 violons, alto et basse) (by Michael Haydn) - B2 - Concerto, en si bmol 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?)
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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)
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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.
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License
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License
Creative Commons Attribution-Share Alike 3.0 Unported //creativecommons.org/licenses/by-sa/3.0/