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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.
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.
Symphony No. 5 (Concerto for Orchestra), by Ellen Taaffe Zwilich (2008) Fifth Concerto for Orchestra, Op. 107, by Robin Holloway (2009–10) Morning in Long Island , Concert No. 1 for orchestra, by Pascal Dusapin (2011)
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.
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.
A symphony is an extended musical composition in Western classical music, most often for orchestra.
The Brandenburg Concerto No. 1, BWV 1046.2 (BWV 1046), [23] is the only one in the collection with four movements. The concerto also exists in an alternative version, Sinfonia BWV 1046.1 (formerly BWV 1046a), [24] which appears to have been composed during Bach's years at Weimar.
Gavotte from J.S. Bach's French Suite No. 5. A suite, in Western classical music, is an ordered set of instrumental or orchestral/concert band pieces. It originated in the late 14th century as a pairing of dance tunes; and grew in scope so that by the early 17th century it comprised up to five dances, sometimes with a prelude.