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Sergei 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. Benjamin Britten's Cello Symphony and Ellen Taaffe Zwilich's Symphony No. 2 also showcase a solo cello within the context of a full-scale symphony.
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.
Concerto da camera – Concerto with the character of a dance suite, introduced by a prelude. Concerto da chiesa – Concerto with formal character and alternating slow and fast movements. Solo concerto – Concerto for a single soloist. Double concerto – Concerto for two soloists. Triple concerto – Concerto for three soloists.
Sergei Prokofiev's Symphony-Concerto in E minor, Op. 125 (also widely referred to as Sinfonia Concertante [1]) is a large-scale work for cello and orchestra. The Symphony-Concerto was premiered on 18 February 1952 by Mstislav Rostropovich , to whom the work was dedicated.
concerto Composition for solo instrument(s) and orchestra concerto grosso Composition for a group of solo instruments (concertino or soli) and orchestra (ripieno or tutti) conjunct An adjective applied to a melodic line that moves by step (intervals of a 2nd) rather than in disjunct motion (by leap). contralto Lowest female singing voice type ...
A symphony is an extended musical composition in Western classical music, most often for orchestra.
Concerto for Orchestra, by Tadeusz Szeligowski (1930) Concerto for Orchestra, Op. 43, by Adolf Busch (published 1931) [2] Concerto for Orchestra, by Gian Francesco Malipiero (1931) Concerto for Orchestra, Op. 24, by Knudåge Riisager (1931) Philharmonic Concerto, by Paul Hindemith (1932) Concerto per orchestra in Do maggiore, by Mario Pilati (1933)
It is a concerto, in that it has one or more soloists (in the classical music era usually more than one). It is a symphony in that it does not particularly put the soloist in the spotlight: the impression is rather symphonic as a whole, with some solistic interventions not outspokenly dominating the orchestra.