Editing Concerto (section)

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

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

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

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

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

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

===Classical era===
{{more citations needed|section|date=April 2021}}
{{See also|List of concertos by Joseph Haydn|Piano concertos by Wolfgang Amadeus Mozart}}
[[Image:Classical concerto sonata form.png|thumb|400px|Sonata form in the Classical Concerto.{{sfn|White|1976}} See: [[trill (music)|trill]], [[cadenza]], and [[coda (music)|coda]]. For [[exposition (music)|exposition]], [[musical development|development]] and [[recapitulation (music)|recapitulation]], see [[sonata form]].]]

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

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

C.P.E. Bach's keyboard concertos contain some virtuosic solo writing. Some of them have movements that run into one another without a break, and there are frequent cross-movement thematic references.{{sfn|Erlebach|1936}} Mozart, as a child, made arrangements for keyboard and orchestra of four sonatas by now little-known composers. Then he arranged three sonata movements by [[Johann Christian Bach]]. By the time he was twenty, Mozart was able to write concerto ritornelli that gave the orchestra admirable opportunity for asserting its character in an exposition with some five or six sharply contrasted themes, before the soloist enters to elaborate on the material. Of [[Mozart piano concertos|his 27 piano concertos]], the last 17 are highly appreciated.{{sfn|McClary|1986}} Eleven cataloged keyboard concertos are attributed to Haydn, of which seven are considered genuine.{{sfn|Threasher|2013}} Beethoven wrote five concertos for piano and orchestra.

C. P. E. Bach wrote five flute concertos and two oboe concertos. Mozart wrote [[Horn concertos (Mozart)|four horn concertos]], two for flute, [[Oboe Concerto (Mozart)|one for oboe]] (later rearranged for flute and known as Flute Concerto No. 2), [[Clarinet Concerto (Mozart)|one for clarinet]], [[Bassoon Concerto (Mozart)|one for bassoon]], [[Concerto for Flute, Harp, and Orchestra (Mozart)|one for flute and harp]], and ''[[Exsultate, jubilate]]'', a ''de facto'' concerto for soprano voice.{{sfn|Paumgartner|2010}} They all exploit and explore the characteristics of the solo instrument(s). Haydn wrote an important [[trumpet concerto (Haydn)|trumpet concerto]] and a [[Sinfonia Concertante (Haydn)|''Sinfonia Concertante'' for violin, cello, oboe, bassoon and orchestra]], as well as [[Horn Concerto No. 1 (Haydn)|one horn concerto]]. Haydn also wrote a concerto for double bass but has since been lost to history in the great fire of Esterhaza in 1779.

===Romantic era===
{{unreferenced section|date=April 2021}}

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

During the Romantic era the cello became increasingly used as a concerto instrument; though the violin and piano remained the most frequently used. [[Beethoven]] contributed to the repertoire of concertos for more than one soloist with a '' [[Triple Concerto (Beethoven)|Triple Concerto]]'' for piano, violin, cello and orchestra while later in the century, [[Brahms]] wrote a '' [[Double Concerto (Brahms)|Double Concerto]]'' for violin, cello and orchestra.

[[File:A performance of a piano concerto.jpg|thumb|A performance of a piano concerto]]

===20th and 21st century===
{{more citations needed|section|date=April 2021}}
Many of the concertos written in the early 20th century belong more to the late Romantic school, hence modernistic movement. Masterpieces were written by [[Edward Elgar]] (a violin concerto and a cello concerto), [[Sergei Rachmaninoff]] and [[Nikolai Medtner]] (four and three piano concertos, respectively), [[Jean Sibelius]] (a violin concerto), [[Frederick Delius]] (a violin concerto, a [[Cello Concerto (Delius)|cello concerto]], a piano concerto and a [[double concerto for violin and cello]]), [[Karol Szymanowski]] (two violin concertos and a "Symphonie Concertante" for piano), and [[Richard Strauss]] (two horn concertos, a violin concerto, ''Don Quixote''—a tone poem that features the cello as a soloist—and among later works, an [[oboe concerto]]).

However, in the first decades of the 20th century, several composers such as [[Debussy]], [[Arnold Schoenberg|Schoenberg]], [[Alban Berg|Berg]], [[Hindemith]], [[Stravinsky]], [[Prokofiev]] and [[Bartók]] started experimenting with ideas that were to have far-reaching consequences for the way music is written and, in some cases, performed. Some of these innovations include a more frequent use of [[Musical mode|modality]], the exploration of non-western [[Musical scale|scales]], the development of [[atonality]] and [[neotonality]], the wider acceptance of [[consonance and dissonance|dissonances]], the invention of the [[twelve-tone technique]] of composition and the use of [[polyrhythm]]s and complex [[time signature]]s.

These changes also affected the concerto as a musical form. Beside more or less radical effects on musical language, they led to a redefinition of the concept of virtuosity that included new and extended instrumental techniques and a focus on previously neglected aspects of sound such as [[Pitch (music)|pitch]], [[timbre]] and [[dynamics (music)|dynamics]]. In some cases, they also brought about a new approach to the role of soloists and their relation to the orchestra.

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

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

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

Other composers of this era adopted a neoclassical rejection of specific features which typically characterized the concerto form during the Baroque or Romantic periods. Several of them achieved this objective by incorporating various musical elements from the realm of [[jazz]] within the structure of the concerto. Included in this group were: [[Aaron Copland]] (''Concerto for Piano'', 1926), [[Maurice Ravel]] (''[[Piano Concerto for the Left Hand (Ravel)|Concerto for the Left Hand]]'', 1929), [[Igor Stravinsky]] (''[[Ebony Concerto (Stravinsky)|Ebony Concerto]]'' for clarinet and jazz band, 1945) and [[George Gershwin]] (''[[Concerto in F (Gershwin)|Concerto in F]]'', 1925).<ref name=HDM202>{{cite book | last=Apel | first=Willi | title=Harvard Dictionary of Music | publisher=Harvard University Press | publication-place=Cambridge, Mass | date=1969 | isbn=978-0-674-37501-7 | page= 202 | url = https://books.google.com/books?id=02rFSecPhEsC&pg=PA202 }}</ref> Still others called upon the orchestra itself to function as the primary virtuosic force within the concerto form. This approach was adopted by [[Bela Bartok]] in his ''[[Concerto for Orchestra (Bartok)|Concerto for Orchestra]]'' as well by other composers of the period including: [[Walter Piston]] (1933), [[Zoltan Kodaly]] (1939), [[Michael Tippet]] (1962) and [[Elliott Carter]] (1969).<ref name=HDM202 />
    
Concertos with concert band include:
*[[Steven Bryant (composer)|Bryant]] – 2007–2010{{relevance inline|date=April 2021}}
*[[Lukas Foss|Foss]] – 2002{{relevance inline|date=April 2021}}
*[[Karel Husa|Husa]] – 1982{{sfn|Burns|2000}}
*[[Gordon Jacob|Jacob]] – 1974{{relevance inline|date=April 2021}}
*[[Robert E. Jager|Jager]] – 1982{{relevance inline|date=April 2021}}