Concerto / Soloist-With-Orchestra
familyStarted c. 1698Peak c. 1750–1915Last big hit still active
Concerto music is built on contrast and conversation between soloist and orchestra. Depending on era, it can sound courtly, heroic, lyrical, or gladiatorial, but the essentials stay constant: a featured instrument stepping forward, orchestral tuttis answering or resisting, cadenzas, virtuosic display, and large-scale dramatic pacing.
History
The solo concerto grew from late-Baroque orchestral practice and from the older concerto grosso, becoming central to public concert life by the Classical era. Vivaldi standardized ritornello energy, Bach expanded keyboard possibilities, Mozart made the concerto psychologically subtle, Beethoven enlarged its public scale, and 19th-century virtuosos turned it into the grand showpiece of the concert hall.
Defining artists
Essential listening
- The Four Seasons: Spring — Giuliano Carmignola and Venice Baroque OrchestraSpotifyYouTube
- Brandenburg Concerto No. 5 — Trevor Pinnock and The English ConcertSpotifyYouTube
- Piano Concerto No. 21 in C major, K. 467 — Mitsuko Uchida and English Chamber OrchestraSpotifyYouTube
- Violin Concerto in D major, Op. 61 — Hilary Hahn and Baltimore Symphony OrchestraSpotifyYouTube
- Piano Concerto No. 2 in B-flat major, Op. 83 — Krystian Zimerman and Vienna PhilharmonicSpotifyYouTube
- Piano Concerto No. 2 in C minor, Op. 18 — Martha Argerich and Royal Concertgebouw OrchestraSpotifyYouTube
Sources
- Britannica on concerto, concerto grosso, and the Classical, Romantic, and modern concerto eras.