A bassoon concerto is a concerto for bassoon accompanied by a musical ensemble, typically orchestra. Like bassoon sonatas, bassoon concerti were relatively uncommon until the twentieth century, although there are quite a few bassoon concerti from the Classical period. Some contemporary bassoon concerti are scored for solo bassoon and wind or string orchestras.

Johannes-Ostern (St John Easter) is a sacred oratorio by Sofia Gubaidulina, composed in 2001, continuing her Johannes-Passion (St John Passion) written to commemorate Johann Sebastian Bach in 2000. Gubaidulina compiled her text in Russian for both works mostly from the Gospel of John and the Book of Revelation, and scored them for four soloists, double choir, organ and orchestra. Both works were first performed together at the Michaeliskirche in Hamburg on 16 March 2002 by singers and the orchestra from the Mariinsky Theatre combined with the NDR Chor and NDR Symphony Orchestra, conducted by Valery Gergiev. The full title of both pieces is in German Passion und Auferstehung Jesu Christi nach Johannes and in English Passion and Resurrection of Jesus Christ according to St John. The UK premiere was given as part of the 2002 BBC Proms. They were published by Sikorski.

This is an incomplete list of compositions by the Russian composer Sofia Gubaidulina (1931–2025). She was highly prolific, producing numerous chamber, orchestral and choral works. Her output has been described as exploring the tensions between Western and Eastern music, and is characterised by "innovative use of microtonality and chromaticism, rhythm over form and a use of contrasting tonalities. Gubaidulina incorporated unusual instrumental combinations. In Erwartung ("In Anticipation") combines a range of percussion instruments (bongos, güiros, temple blocks, cymbals and tam-tams among others) with a saxophone quartet. Melodically, she uses frequent and intense chromatic motifs rather than long melodic phrases. She sought to use music to attain unity with the divine. She achieved this through the use of micro-chromaticism (i.e., quarter tones) and frequent glissandi. Explaining her use of harmonics, specifically in her Rejoice! sonata for violin and cello, Gubaidulina said that "the possibility for string instruments to derive pitches of various heights at one and the same place on the string can be experienced in music as the transition to another plane of existence. And that is joy. Asked in 2011 about her increasing prolificacy as she got older and if she ever felt like slowing down, Gubaidulina replied that she had "many interesting projects, more than I can ever make...and there are always new soundscapes to explore."

Sofia Asgatovna Gubaidulina (24 October 1931 – 13 March 2025) was a Soviet and Russian composer of modernist sacred music. She was highly prolific, producing numerous chamber, orchestral and choral works. Her output has been described as exploring the tensions between Western and Eastern music, and has been characterised by "innovative use of microtonality and chromaticism, rhythm over form and use of contrasting tonalities. Her compositions have been praised for their "emotional intensity", while she described her music as bringing legato, that is, a sense of "connected flow into the fragmented staccato of life." Alongside Alfred Schnittke, Arvo Pärt and Edison Denisov, Gubaidulina was considered one of the foremost composers of the former Soviet Union who were disfavoured by the authorities including the KGB, but whose work became frequently commissioned and performed by major international orchestras, with her first major breakthrough being her violin concerto Offertorium (1980).

This is an incomplete list of compositions by the Russian composer Sofia Gubaidulina (1931–2025). She was highly prolific, producing numerous chamber, orchestral and choral works. Her output has been described as exploring the tensions between Western and Eastern music, and is characterised by "innovative use of microtonality and chromaticism, rhythm over form and a use of contrasting tonalities. Gubaidulina incorporated unusual instrumental combinations. In Erwartung ("In Anticipation") combines a range of percussion instruments (bongos, güiros, temple blocks, cymbals and tam-tams among others) with a saxophone quartet. Melodically, she uses frequent and intense chromatic motifs rather than long melodic phrases. She sought to use music to attain unity with the divine. She achieved this through the use of micro-chromaticism (i.e., quarter tones) and frequent glissandi. Explaining her use of harmonics, specifically in her Rejoice! sonata for violin and cello, Gubaidulina said that "the possibility for string instruments to derive pitches of various heights at one and the same place on the string can be experienced in music as the transition to another plane of existence. And that is joy. Asked in 2011 about her increasing prolificacy as she got older and if she ever felt like slowing down, Gubaidulina replied that she had "many interesting projects, more than I can ever make...and there are always new soundscapes to explore."

Sofia Asgatovna Gubaidulina (24 October 1931 – 13 March 2025) was a Soviet and Russian composer of modernist sacred music. She was highly prolific, producing numerous chamber, orchestral and choral works. Her output has been described as exploring the tensions between Western and Eastern music, and has been characterised by "innovative use of microtonality and chromaticism, rhythm over form and use of contrasting tonalities. Her compositions have been praised for their "emotional intensity", while she described her music as bringing legato, that is, a sense of "connected flow into the fragmented staccato of life." Alongside Alfred Schnittke, Arvo Pärt and Edison Denisov, Gubaidulina was considered one of the foremost composers of the former Soviet Union who were disfavoured by the authorities including the KGB, but whose work became frequently commissioned and performed by major international orchestras, with her first major breakthrough being her violin concerto Offertorium (1980).

Sofia Asgatovna Gubaidulina (24 October 1931 – 13 March 2025) was a Soviet and Russian composer of modernist sacred music. She was highly prolific, producing numerous chamber, orchestral and choral works. Her output has been described as exploring the tensions between Western and Eastern music, and has been characterised by "innovative use of microtonality and chromaticism, rhythm over form and use of contrasting tonalities. Her compositions have been praised for their "emotional intensity", while she described her music as bringing legato, that is, a sense of "connected flow into the fragmented staccato of life." Alongside Alfred Schnittke, Arvo Pärt and Edison Denisov, Gubaidulina was considered one of the foremost composers of the former Soviet Union who were disfavoured by the authorities including the KGB, but whose work became frequently commissioned and performed by major international orchestras, with her first major breakthrough being her violin concerto Offertorium (1980).

This is an incomplete list of compositions by the Russian composer Sofia Gubaidulina (1931–2025). She was highly prolific, producing numerous chamber, orchestral and choral works. Her output has been described as exploring the tensions between Western and Eastern music, and is characterised by "innovative use of microtonality and chromaticism, rhythm over form and a use of contrasting tonalities. Gubaidulina incorporated unusual instrumental combinations. In Erwartung ("In Anticipation") combines a range of percussion instruments (bongos, güiros, temple blocks, cymbals and tam-tams among others) with a saxophone quartet. Melodically, she uses frequent and intense chromatic motifs rather than long melodic phrases. She sought to use music to attain unity with the divine. She achieved this through the use of micro-chromaticism (i.e., quarter tones) and frequent glissandi. Explaining her use of harmonics, specifically in her Rejoice! sonata for violin and cello, Gubaidulina said that "the possibility for string instruments to derive pitches of various heights at one and the same place on the string can be experienced in music as the transition to another plane of existence. And that is joy. Asked in 2011 about her increasing prolificacy as she got older and if she ever felt like slowing down, Gubaidulina replied that she had "many interesting projects, more than I can ever make...and there are always new soundscapes to explore."

Sofia Asgatovna Gubaidulina (24 October 1931 – 13 March 2025) was a Soviet and Russian composer of modernist sacred music. She was highly prolific, producing numerous chamber, orchestral and choral works. Her output has been described as exploring the tensions between Western and Eastern music, and has been characterised by "innovative use of microtonality and chromaticism, rhythm over form and use of contrasting tonalities. Her compositions have been praised for their "emotional intensity", while she described her music as bringing legato, that is, a sense of "connected flow into the fragmented staccato of life." Alongside Alfred Schnittke, Arvo Pärt and Edison Denisov, Gubaidulina was considered one of the foremost composers of the former Soviet Union who were disfavoured by the authorities including the KGB, but whose work became frequently commissioned and performed by major international orchestras, with her first major breakthrough being her violin concerto Offertorium (1980).

A viola concerto is a concerto contrasting a viola with another body of musical instruments such as an orchestra or chamber music ensemble. Throughout music history, especially during the Baroque, Classical, and Romantic eras, viola was viewed mostly as an ensemble instrument. Though there were a few notable concertos written for the instrument in this time period, these instances were quite rare and the instrument continued to be ignored. However, during the 20th century, the instrument was revitalized thanks to the work of a number of violists and composers, which led to the commission and composition of many more viola concertos, expanding the repertoire significantly.

Sofia Asgatovna Gubaidulina (24 October 1931 – 13 March 2025) was a Soviet and Russian composer of modernist sacred music. She was highly prolific, producing numerous chamber, orchestral and choral works. Her output has been described as exploring the tensions between Western and Eastern music, and has been characterised by "innovative use of microtonality and chromaticism, rhythm over form and use of contrasting tonalities. Her compositions have been praised for their "emotional intensity", while she described her music as bringing legato, that is, a sense of "connected flow into the fragmented staccato of life." Alongside Alfred Schnittke, Arvo Pärt and Edison Denisov, Gubaidulina was considered one of the foremost composers of the former Soviet Union who were disfavoured by the authorities including the KGB, but whose work became frequently commissioned and performed by major international orchestras, with her first major breakthrough being her violin concerto Offertorium (1980).

This is an incomplete list of compositions by the Russian composer Sofia Gubaidulina (1931–2025). She was highly prolific, producing numerous chamber, orchestral and choral works. Her output has been described as exploring the tensions between Western and Eastern music, and is characterised by "innovative use of microtonality and chromaticism, rhythm over form and a use of contrasting tonalities. Gubaidulina incorporated unusual instrumental combinations. In Erwartung ("In Anticipation") combines a range of percussion instruments (bongos, güiros, temple blocks, cymbals and tam-tams among others) with a saxophone quartet. Melodically, she uses frequent and intense chromatic motifs rather than long melodic phrases. She sought to use music to attain unity with the divine. She achieved this through the use of micro-chromaticism (i.e., quarter tones) and frequent glissandi. Explaining her use of harmonics, specifically in her Rejoice! sonata for violin and cello, Gubaidulina said that "the possibility for string instruments to derive pitches of various heights at one and the same place on the string can be experienced in music as the transition to another plane of existence. And that is joy. Asked in 2011 about her increasing prolificacy as she got older and if she ever felt like slowing down, Gubaidulina replied that she had "many interesting projects, more than I can ever make...and there are always new soundscapes to explore."