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The Flute Concertino in D major, Op. 107, is a concertino composed in 1902 by French composer Cécile Chaminade. It was originally written for flute and piano, but Chaminade later arranged it for flute and orchestra. The piece remains a standard and popular part of the flute repertoire. [1]
A flute concerto is a concerto for solo flute and instrumental ensemble, customarily the orchestra. Such works have been written from the Baroque period, when the solo concerto form was first developed, up through the present day.
The harpsichord is both a concertino and a ripieno instrument. In the concertino passages the part is obbligato; in the ripieno passages it has a figured bass part and plays continuo. This concerto makes use of a popular chamber music ensemble of the time (flute, violin, and harpsichord), which Bach used on its own for the middle movement.
Corelli's concertino group was two violins, a cello and basso continuo. [8] 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. [9]
Concertino d'automne for two pianos and eight instruments, Op. 309 (1951) [9] Concertino d'été for viola and chamber orchestra, Op. 311 (1951) [9] Concertino d'hiver for trombone and string orchestra, Op. 327 (1953) [9] Per Nørgård: Concertino No. 2 for piano solo (1950) Léon Orthel: Concertino alla burla for piano and orchestra, Op. 12 (1930)
Ludwig van Beethoven: . Serenade for flute, violin and viola in D major, Op. 25; Trio for piano, flute, and bassoon in G major, WoO 37; Pierre Boulez: …explosante-fixe…, various configurations with flute and other instruments (1971–72, 1973–74, 1985, 1991–93)
The earliest known solo concerti [citation needed] are nos. 6 and 12 of Giuseppe Torelli's Op. 6 of 1698. These works employ both a three-movement cycle and clear (if diminutive) ritornello form, like that of the ripieno concerto except that sections for the soloist and continuo separate the orchestral ritornellos.
La Transfiguration de Notre Seigneur Jésus (1965–69), for solo piano, solo cello, solo flute, solo clarinet, solo xylorimba, solo vibraphone, large 10-part choir and large orchestra; Peter Mieg. Concerto for 2 pianos and orchestra (1939–41) Piano Concerto No. 1 (1947) Piano Concerto No. 2 (1961)
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