Concerto Explained

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

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

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

In the second half of the 20th century and onwards into the 21st a great many composers have continued to write concertos, including Alfred Schnittke, György Ligeti, Dimitri Shostakovich, Philip Glass and James MacMillan among many others. An interesting feature of this period is the proliferation of concerti for less usual instruments, including orchestral ones such as the double bass (by composers like Eduard Tubin or Peter Maxwell Davies) and cor anglais (like those by MacMillan and Aaron Jay Kernis), but also folk instruments (such as Tubin's concerto for Balalaika, Serry's Concerto in C Major for Bassetti Accordion,[1] [2] or the concertos for Harmonica by Villa-Lobos and Malcolm Arnold), and even Deep Purple's Concerto for Group and Orchestra, a concerto for a rock band.

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

Genre

The Italian word concerto, meaning accord or gathering, derives from the Latin verb concertare, which indicates a competition or battle.

Baroque Era

See also: Concerto (Bach). Compositions were for the first time indicated as concertos in the title of a music print when the were published in 1587.

Concerto as a genre of vocal music

See also: Sacred concerto. In the 17th century, sacred works for voices and orchestra were typically called concertos, as reflected by J. S. Bach's usage of the title "concerto" for many of the works that we know as cantatas. 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. Examples of this earlier form of concerto include Giovanni Gabrieli's "In Ecclesiis" or Heinrich Schütz's "Saul, Saul, was verfolgst du mich".[3]

Instrumental concerto

See also: Ripieno concerto and 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.[4] In J. S. Bach's Fifth Brandenburg Concerto, for example, the concertino is a flute, a violin, and a harpsichord; although the harpsichord is a featured solo instrument, it also sometimes plays with the ripieno, functioning as a continuo keyboard accompaniment.

Later, the concerto approached its modern form, in which the concertino usually reduces to a single solo instrument playing with (or against) an orchestra. The main composers of concertos of the baroque were Tommaso Albinoni, Antonio Vivaldi (e.g. published in L'estro armonico, La stravaganza, Six Violin Concertos, Op. 6, Twelve Concertos, Op. 7, Il cimento dell'armonia e dell'inventione, Six Flute Concertos, Op. 10, Six Concertos, Op. 11 and Six Violin Concertos, Op. 12), Georg Philipp Telemann, Johann Sebastian Bach, 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).

The Baroque concerto was mainly for a string instrument (violin, viola, cello, seldom viola d'amore or harp) or a wind instrument (flute, recorder, oboe, bassoon, horn, or trumpet,). Bach also wrote a concerto for two violins and orchestra. 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.[5]

Classical era

See also: List of concertos by Joseph Haydn and Piano concertos by Wolfgang Amadeus Mozart.

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

Mozart wrote five violin concertos, all in 1775. They show a number of influences, notably Italian and Austrian. Several passages have leanings towards folk music, as manifested in Austrian serenades. Mozart also wrote the Sinfonia Concertante for violin, viola, and orchestra. Beethoven wrote only one violin concerto that remained obscure until revealed as a masterpiece in a performance by violin virtuoso Joseph Joachim on 27 May 1844.

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. Mozart, as a child, made arrangements for keyboard and orchestra of four sonatas by now little-known composers. Then he arranged three sonata movements by Johann Christian Bach. By the time he was twenty, Mozart was able to write concerto ritornelli that gave the orchestra admirable opportunity for asserting its character in an exposition with some five or six sharply contrasted themes, before the soloist enters to elaborate on the material. Of his 27 piano concertos, the last 22 are highly appreciated. A dozen cataloged keyboard concertos are attributed to Haydn, of which only three or four are considered genuine.

C. P. E. Bach wrote five flute concertos and two oboe concertos. Mozart wrote five horn concertos, with two 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 Exsultate, jubilate, a de facto concerto for soprano voice. They all exploit and explore the characteristics of the solo instrument(s). Haydn wrote an important trumpet concerto and a Sinfonia Concertante for violin, cello, oboe and bassoon as well as two horn concertos.

Romantic era

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

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

20th and 21st century

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

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

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

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

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

In addition, the 20th century gave rise to several composers who experimented further by showcasing a variety of nontraditional orchestral instruments within the center of the orthodox concerto form. Included within this group are:Paul Hindemith (Concerto for Trautonium and String Orchestra in 1931),[6] Andre Jolivet (Concerto of Ondes Martenot in 1947),[7] Heitor Villa-Lobos (Concerto for Harmonica in 1956),[8] [9] John Serry Sr. (Concerto in C Major for Bassetti Accordion in 1966),[10] [11] Astor Piazzolla (Concerto for Bandoneon, String Orchestra and Percussion, "Aconcagua" in 1979),[12] Peter Maxwell Davies (Concerto for Piccolo and Orchestra, Op. 182 in 1996),[13] [14] and Tan Dun (Concerto for Water Percussion and Orchestra in 1998)[15] [16]

Other composers of this era adopted a neoclassical rejection of specific features which typically characterized the concerto form during the Baroque or Romantic periods. Several of them achieved this objective by incorporating various musical elements from the realm of jazz within the structure of the concerto. Included in this group were: Aaron Copland (Concerto for Piano, 1926), Maurice Ravel (Concerto for the Left Hand, 1929), Igor Stravinsky (Ebony Concerto for clarinet and jazz band, 1945) and George Gershwin (Concerto in F, 1925).[17] Still others called upon the orchestra itself to function as the primary virtuosic force within the concerto form. This approach was adopted by Bela Bartok in his Concerto for Orchestra as well by other composers of the period including: Walter Piston (1933), Zoltan Kodaly (1939), Michael Tippet (1962) and Elliott Carter (1969).[18] Concertos with concert band include:

By type

Vocal concerto

See also: Chorale concerto and Hymn concertato.

20th century:

Without orchestra

Single solo instrument

See also: Concerto for solo piano.

Baroque era:

20th century:

Multiple instruments

Baroque era:

20th century:

For one instrumental soloist and orchestra

See main article: Solo concerto.

For bowed string instrument and orchestra

Violin concerto

See main article: Violin concerto.

Baroque era:

Classical era:

Early Romantic traits can be found in the violin concertos of Viotti, but it is Spohr's twelve violin concertos, written between 1802 and 1827, that truly embrace the Romantic spirit with their melodic as well as their dramatic qualities.

20th century:

21st century:

Viola concerto

See main article: Viola concerto.

Baroque era:

Classical era:

20th century:

Cello concerto

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

Baroque era:

Classical era:

Romantic era:

20th century:

Double bass concerto

See main article: Double bass concerto.

20th century:

Aho, Gagneux, Dittersdorf, Henze, Koussevitsky, Davies, Ohzawa, Rautavaara, Skalkottas, Tubin

Other bowed string instruments

20th century:

For plucked string instrument and orchestra

Harp concerto

See also: Harp concerto.

Baroque era:

Classical era:

Romantic era:

20th century:

Mandolin concerto

Baroque era:

20th century:

Guitar concerto

20th century:

Other plucked string instruments

Baroque era:

20th century:

For woodwind instrument and orchestra

Flute concerto

See main article: Flute concerto.

Baroque era:

Classical era:

20th century:

Oboe concerto

See main article: Oboe concerto.

Baroque era:

Classical era:

Romantic era:

20th century:

Aho, Arnold, Bouliane, Corigliano, Davies, Denisov, Harman, MacMillan, Maderna, Martinů, Penderecki, Shchedrin, Strauss, Vaughan Williams, Zimmermann

Bryars

English horn

See also: List of concertos for English horn.

20th century:

Bassoon concerto

See main article: Bassoon concerto.

20th century:

Aho, Butterworth, Davies, del Aguila, Donatoni, Eckhardt-Gramatté, Fujikura, Gubaidulina, Hétu, Jolivet, Kaipainen, Knipper, Landowski, Panufnik, Rihm, Rota, Sæverud, J. Williams

Clarinet concerto

See main article: Clarinet concerto.

20th century:

Aho, Arnold, Chin, Copland, Davies, del Aguila, Denisov, Dusapin, Fairouz, Finzi, Françaix, Hartke, Hétu, Hindemith, Nielsen, Penderecki, Piston, Rautavaara, Shapey, Stravinsky, Takemitsu, Ticheli, Tomasi, J. Williams

21st century:

Saxophone concerto

See also: List of concert works for saxophone.

20th century:

Other woodwind instruments

20th century:

Chieftain's Salute by Graham Waterhouse

For brass instrument and orchestra

Trumpet concerto

See main article: Trumpet concerto.

20th century:

Horn concerto

Classical era:

20th century:

Trombone concerto

See main article: Trombone concerto.

20th century:

Other brass instruments

20th century:

Keyboard concerto

See main article: Keyboard concerto.

Harpsichord concerto

See main article: Harpsichord concerto.

Baroque era:

20th century:

Organ concerto

See main article: Organ concerto.

Baroque era:

20th century:

Arnold, Hanson, Harrison, Hétu, Hindemith, Jongen, MacMillan, Peeters, Poulenc, Rorem, Sowerby[40]

Piano concerto

See main article: Piano concerto.

Classical era:

Romantic era:

20th century:

Accordion concerto

See main article: Accordion concerto.

20th century:

Hovhaness, Sofia Gubaidulina, Toshio Hosokawa, Kalevi Aho

Other keyboard instruments

20th century:

Akutagawa

Other instrumental soloist

Percussion instrument

See main article: Percussion concerto.

20th century:

Aho, Dorman, Glass, Jolivet, MacMillan, Milhaud, Rautavaara, Susman

Aho, Druschetzky, Glass, Kraft, Rosauro

Creston, Larsen, Milhaud, Rosauro (Concerto No.1 and No.2), Svoboda, Viñao

Rosauro (Concerto No.1 and Concerto No.2)[46]

Free reed aerophone

See also: Harmonica concerto.

20th century:

Arnold, Hovhaness, Vaughan Williams, Villa-Lobos[47]

Electronic musical instrument

20th century:

For multiple instruments and orchestra

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

Two soloists

See main article: double concerto.

Baroque era:

Classical era:

Romantic era:

20th century:

Three soloists

See main article: triple concerto.

Baroque era:

Classical era:

Romantic era:

21st century:

Four or more soloists

Baroque era:

20th century:

Concerto for orchestra

See main article: Concerto for Orchestra.

Symphonic orchestra

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

Dutilleux has also described his Métaboles as a concerto for orchestra.

Chamber orchestra or string orchestra

Baroque era:

20th century:

More than one orchestra

Baroque era:

20th century:

Sources

Further reading

Notes and References

  1. Web site: 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.. 2002. Copyright # PAU 3-336-024. Cocatalog.loc.gov.
  2. https://www.esm.rochester.edu/sibley/files/John-J-Serry-Sr-Collection.pdf Eastman School of Music - University of Rochester - Sibley Music Library: John J. Serry Sr. Collection score "Concetro in C Major (1967) for Free Bass Accordion " Folder 15 & 16 p. 10 archived at the University of Rochester Eastman School of Music Sibley Music Library Special collections on esm.rochester.edu
  3. Web site: Duffy . Reviewed by Martin . 2014-06-09 . Australian Chamber Choir fills church with uplifting sacred music . 2024-03-27 . The Sydney Morning Herald . en.
  4. Book: Roeder, Michael Thomas . A history of the concerto . 1994 . Amadeus Press . 0-931340-61-6 . Portland, Or. . 27070961.
  5. Web site: History of the Concerto Music Appreciation. live. 2021-07-21. courses.lumenlearning.com. https://web.archive.org/web/20170616075052/https://courses.lumenlearning.com/musicapp_historical/chapter/73/ . 2017-06-16 .
  6. https://www.google.com/books/edition/Electronic_and_Experimental_Music/ILkquoGXEq0C?hl=en&gbpv=1&dq=Concerto+for+Trautonium+Paul+Hindemith&pg=PA66&printsec=frontcover Electronic and Experimental Music: Pioneers in Technology and Composition. Holmes, Thom. Routledge 2002, p. 66-67 ISBN 9780415936439 Concerto for Trautonium Paul Hindemith on google Books
  7. https://www.google.com/books/edition/A_History_of_the_Concerto/mutaps6xlIIC?hl=en&gbpv=1&dq=Concerto+for+Ondes+Martenot+Andre+Jolivet&pg=PA397&printsec=frontcover A History of the Concerto. Roeder, Michael Thomas. Amadeus Press, 1994, p. 397 ISBN 9780931340611 Concerto for Ondes Martenot Andre Jolivet on Google Books
  8. https://www.google.com/books/edition/The_Encyclopedia_of_the_Harmonica/YRsxDwAAQBAJ?hl=en&gbpv=1&dq=Villa+Lobos+Concerto+for+the+Harmonica&pg=PA178&printsec=frontcover The Encyclopedia of the Harmonnica. Krampert, Peter. Mel Bay Publications. 2016 p. 178 Ebook ISBN 9781619115774 Villa-Lobos Concerto for the Harmonica on Google Books
  9. https://www.google.com/books/edition/A_History_of_the_Concerto/mutaps6xlIIC?hl=en&gbpv=1&dq=Villa+Lobos+Concerto+for+the+Harmonica&pg=PA410&printsec=frontcover A History of the Concerto. Roeder, Michael Thomas. Amadeus Press, 1994, p. 410 ISBN 9780931340611 Villa-Lobos Concerto for the Harmonica on Google Books
  10. Web site: 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.. 2002. Copyright # PAU 3-336-024. Cocatalog.loc.gov.
  11. https://www.esm.rochester.edu/sibley/files/John-J-Serry-Sr-Collection.pdf Eastman School of Music - University of Rochester - Sibley Music Library: John J. Serry Sr. Collection score "Concerto in C Major (1967) for Free Bass Accordion " Folder 15 & 16 p. 10 archived at the University of Rochester Eastman School of Music Sibley Music Library Special collections on esm.rochester.edu
  12. https://www.google.com/books/edition/World_Music_Latin_and_North_America_Cari/QzX8THIgRjUC?hl=en&gbpv=1&dq=Astor+Piazzolla+Concerto+for+bandoneon&pg=PA309&printsec=frontcover World Music: Latin and North America,, Caribbean, India, Asia and Pacific. Elligham, Mark. Trillo, Richard. Broughton, Simon. eds. Rough Guides, 2000, p. 309 ISBN 9781858286365 Astor Piazzolla Concerto for Bandoneon on Google Books
  13. https://www.google.com/books/edition/Peter_Maxwell_Davies/TyIuDwAAQBAJ?hl=en&gbpv=1&dq=Peter+Maxwell+Davies+Concerto+for+Piccolo+and+orchestra&pg=PA1997-IA1&printsec=frontcover Peter Maxwell Davies A Source Book. Craggs, Stewart. Taylor & Francis, 2017 Ebook ISBN 9781351765022 Peter maxwell Davies Concerto for Picollo onGoogle Books
  14. https://www.google.com/books/edition/Peter_Maxwell_Davies_Selected_Writings/P1M6DwAAQBAJ?hl=en&gbpv=1&dq=Peter+Maxwell+Davies+Concerto+for+Piccolo+and+orchestra&pg=PA124&printsec=frontcover Peter Maxwell Davies Selected Writings. Davies, Peter Maxwell. Jones, Nicholas. Ed. Cambridge University Press 2017 p. 124 ISBN 9781108500746 Peter Maxwell Davies Concerto for Picollo and Orchetra on Google Books
  15. https://www.google.com/books/edition/The_Routledge_Handbook_of_Music_Signific/3CrXDwAAQBAJ?hl=en&gbpv=1&dq=Tan+Dun+Concerto+for+Water+Percussion&pg=PT281&printsec=frontcover The Routledge Handbook of Music Signification. Sheinberg, Esti. Dougherty, William P. Eds. Taylor and Francis 2020 Ebook ISBN 9781351237512 Tan Dun Concerto for Water Percussion on Google Books
  16. 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 Nontraditional Instrument Concertos on Google
  17. https://www.google.com/books/edition/The_Harvard_Dictionary_of_Music/02rFSecPhEsC?hl=en&gbpv=1&dq=20th+Century+Concertos+for+Orchestra&pg=PA202&printsec=frontcover The Harvard Dictionary of Music: Fourth Edition. Randel, Don Michael. Belknap Press of Harvard University Press, 2003, p. 202 ISBN 9780674375017 2oth Century Concertos for Orchestra on Google Books
  18. https://www.google.com/books/edition/The_Harvard_Dictionary_of_Music/02rFSecPhEsC?hl=en&gbpv=1&dq=20th+Century+Concertos+for+Orchestra&pg=PA202&printsec=frontcover The Harvard Dictionary of Music: Fourth Edition. Randel, Don Michael. Belknap Press of Harvard University Press, 2003, p. 202-203 ISBN 9780674375017 2oth Century Concertos for Orchestra on Google Books
  19. Web site: 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.. 2002. Copyright # PAU 3-336-024. Cocatalog.loc.gov.
  20. Web site: Viola Concerto in D major, Op.1 (Stamitz, Carl Philipp) - IMSLP: Free Sheet Music PDF Download .
  21. Web site: Viola Concerto in E-flat major (Zelter, Carl Friedrich). imslp.org.
  22. Web site: Kammermusik No.6, Op.46 No.1 (Hindemith, Paul) - IMSLP . 2024-03-27 . imslp.org.
  23. ; .
  24. Hurwitz, David. "Harp Concertos SACD" at Classics Today website.
  25. https://www.alicegiles.com/recordings-1/harp-concertos Harp Concertos: Ginastera / Jolivet / Glière
  26. Riedstra, Siebe (January 2015). "CD-recensie: Anneleen Lenaerts - Harpconcerten" at OpusKlassiek website.
  27. https://www.prestomusic.com/classical/products/8345392--jongen-harp-concerto Jongen: Harp Concerto
  28. https://www.prestomusic.com/classical/works/92611--jolivet-concerto-for-harp-and-chamber-orchestra-1952/browse Concerto for Harp and Chamber Orchestra (1952)
  29. Headington, Christopher (February 1993). Review: Milhaud Orchestral Works in Gramophone
  30. https://www.prestomusic.com/classical/works/243229--milhaud-harp-concerto-op-323/browse Milhaud - Harp Concerto, Op. 323
  31. Robinson, Paul (20 January 2019). "Two Major Late Works Continue Rautavaara Survey" at Classical Voice North America website.
  32. Hurwitz, David (12 May 2001). Rautavaara: Symphony No. 8; Harp concerto at Classics Today website.
  33. Web site: Chris Thile’s New Mandolin Concerto Is a Romp Through the Record Industry . 2024-03-27 . www.sfcv.org . en.
  34. Web site: Mandolin Concerto Avner Dorman . 2024-03-27 . www.wisemusicclassical.com . en.
  35. Web site: American Premiere: Tahir Aydoğdu performs Hasan Ferid Alnar’s Kanun Concerto . 2024-03-27 . liberalarts.utexas.edu . en.
  36. Web site: Peter Maxwell Davies: Piccolo Concerto: Piccolo . 2022-04-18 . www.musicroom.com . en.
  37. Web site: Op.50 Concerto for Piccolo and Orchestra . 2022-04-18 . LOWELL LIEBERMANN . en-US.
  38. Web site: English recorder concertos[sound recording] /Richard Harvey ; Malcolm Arnold ; Gordon Jacob. – National Library ]. 2022-10-14 . www.nlb.gov.sg.
  39. Web site: Takemitsu and Tanaka . 2022-10-14 . www.yourclassical.org . 9 November 2017 . en.
  40. Britannica, The Editors of Encyclopaedia. "Leo Sowerby". Encyclopedia Britannica, 3 Jul. 2023, https://www.britannica.com/biography/Leo-Sowerby . Accessed 4 February 2024.
  41. https://courses.lumenlearning.com/musicapp_historical/chapter/73/ History of the Concerto
  42. Web site: Piano Concerto - Details - AllMusic . AllMusic .
  43. https://books.google.com/books?id=N0chAQAAIAAJ&dq=Catalog+of+Copyright+Entries+John+Serry+1968&pg=PA1626 Library of Congress Copyright Office - Catalog of Copyright Entries: Third Series Music July-December 1968, Vol. 22, Part 5, Number 2, Section 1, published 1970, p. 1626 "Concerto in C Major for Bassetti Accordion" Op. 1 John Serry 1968, Solo Arrangement Jan. 1, 1968 No. EP247602 on https://books.google.com
  44. News: Clements . Andrew . 2010-09-23 . Piazzolla: Sinfonia Buenos Aires; Concerto for Bandoneon; Las Cuatro Estaciones Porteñas . 2024-03-31 . The Guardian . en-GB . 0261-3077.
  45. Snook . P.A. . 2002 . Williams: "Tuba Concerto"; Tailleferre: "Harp Concertino"; Tomasi: "Saxophone Concerto"; Mayuzumi: "Xylophone Concerto" . Fanfare . 25 . 6 . 261–262 . Arts Premium Collection.
  46. Web site: Works . Ney Rosauro . Emmanuel Berrido . 11 February 2023.
  47. Web site: Harmonica Concerto, W524 (Villa-Lobos, Heitor) - IMSLP: Free Sheet Music PDF Download. 2021-05-13. imslp.org.
  48. Web site: 10 of the best concertos for unusual instruments . 2024-03-27 . www.classical-music.com . en.
  49. Web site: 2022-09-03 . Proms 2022: BBC Philharmonic; Shostakovich's Last Symphony and a Concerto for Theremin . 2024-03-27 . ABC listen . en-AU.
  50. https://www.harmoniamundi.com/#!/albums/2318 George Frideric Handel 1685-1759: Concerti a due cori, HWV 332, HWV 333, HWV 334
  51. Huscher, Phillip (2010). Program Notes: Sir Michael Tippett – Concerto for Double String Orchestra at Chicago Symphony Orchestra website.

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