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The accordion concerto has its origin in the twentieth century, following examples as the much older piano concerto or the violin concerto. The instrument accordion developed to a full concert instrument, more and more composers started composing for this instrument, also for accordion and orchestra. In 1937 the first concerto for accordion and ...
In 1937, the first accordion concerto was composed in Russia. Other notable composers have written for the accordion during the first half of the 20th century. [52] Included among this group was the Italian-American John Serry Sr., whose Concerto for Free Bass Accordion was completed in 1964.
Steen Pade, Nørgård's student, wrote a concerto for accordion and three solo works: Excursions With Detours (1984), Aprilis (1987) and Cadenza (1987). Vagn Holmboe wrote Sonata, Op. 143A. In Europe, free bass accordion performance has reached a very high level and the instrument is considered worthy of serious study in music conservatories.
Atom Accordion Quintet; Martin Lichtfuss (1959) K*tzbühel - eine Patriotische Huldigung (2008) Martin Lohse (1971) Concerto in tempi (2012) Grégoire Lorieux (1976) Description du blanc (b) (2011) I-Tsen Lu. Jenseits, im ungewissen (1996) Ray Luedeke (1944) Tango Dreams, for accordion and string trio; Torbjörn Lundquist. Bewegungen (1966)
Anthony Galla-Rini (January 18, 1904 – July 30, 2006) was an American accordionist, arranger, composer, conductor, author, and teacher, and is considered by many to be the first American accordionist to promote the accordion as a legitimate concert instrument.
The following is a partial list of concertos by Joseph Haydn (1732–1809). In the Hoboken catalogue of Haydn's works, concertos for most instruments are in category VII with a different letter for each solo instrument (VIIa is for violin concertos, VIIb is for cello concertos, etc.).
The composition is written in the traditional concerto form of three movements but without orchestral ensemble. It was the composer's intention to illustrate the vast orchestral tonalities and harmonic flexibility of the free-bass instrument by showcasing its potential as both a solo instrument as well as an orchestral entity.
Concerto in G minor for violin and orchestra (1934) Paul Creston. Violin Concerto No. 1, Op. 65 (1956) Concerto for violin & orchestra, op. 65 Lydian ode, for orchestra, op. 67. Concerto for accordion, op. 75. Violin Concerto No. 2, Op. 78 (1960) Zulema de la Cruz. Concerto for violin and chamber orchestra No.1 "Pacifico" (2006)