Ned Rorem (1923–2022) was an American composer of contemporary classical music. Though best known for his many songs, his compositions also include operas, concertante, piano music as well as choral, chamber and orchestral works.

This is a list of compositions for piano and orchestra. For a description of related musical forms, see Concerto and Piano concerto.

A concerto (; plural concertos, or concerti from the Italian plural) is, from the late Baroque era, mostly understood as an instrumental composition, written for one or more soloists accompanied by an orchestra or other ensemble. The typical three-movement structure, a slow movement (e.g., lento or adagio) preceded and followed by fast movements (e.g., presto or allegro), became a standard from the early 18th century. The concerto originated as a genre of vocal music in the late 16th century: the instrumental variant appeared around a century later, when Italians such as Arcangelo Corelli and Giuseppe Torelli started to publish their concertos. A few decades later, Venetian composers, such as Antonio Vivaldi, had written hundreds of violin concertos, while also producing solo concertos for other instruments such as a cello or a woodwind instrument, and concerti grossi for a group of soloists. The first keyboard concertos, such as George Frideric Handel's organ concertos and Johann Sebastian Bach's harpsichord concertos, were written around the same time. In the second half of the 18th century, the piano became the most used keyboard instrument, and composers of the Classical Era such as Joseph Haydn, Wolfgang Amadeus Mozart and Ludwig van Beethoven each wrote several piano concertos, and, to a lesser extent, violin concertos, and concertos for other instruments. In the Romantic Era, many composers, including Niccolò Paganini, Felix Mendelssohn, Frédéric Chopin, Robert Schumann, Johannes Brahms, Pyotr Ilyich Tchaikovsky and Sergei Rachmaninoff, continued to write solo concertos, and, more exceptionally, concertos for more than one instrument; 19th century concertos for instruments other than the piano, violin and cello remained comparatively rare, however. In the first half of the 20th century, concertos were written by, among others, Maurice Ravel, Edward Elgar, Richard Strauss, Sergei Prokofiev, George Gershwin, Heitor Villa-Lobos, Joaquín Rodrigo and Béla Bartók, the latter also composing a concerto for orchestra, that is without soloist. During the 20th century concertos appeared by major composers for orchestral instruments which had been neglected in the 19th century such as the clarinet, viola and French horn. In the second half of the 20th century and onwards into the 21st a great many composers have continued to write concertos, including Alfred Schnittke, György Ligeti, Dmitri Shostakovich, Philip Glass and James MacMillan among many others. An interesting feature of this period is the proliferation of concerti for less usual instruments, including orchestral ones such as the double bass (by composers like Eduard Tubin or Peter Maxwell Davies) and cor anglais (like those by MacMillan and Aaron Jay Kernis), but also folk instruments (such as Tubin's concerto for Balalaika, Serry's Concerto in C Major for Bassetti Accordion, or the concertos for Harmonica by Villa-Lobos and Malcolm Arnold), and even Deep Purple's Concerto for Group and Orchestra, a concerto for a rock band. Concertos from previous ages have remained a conspicuous part of the repertoire for concert performances and recordings. Less common has been the previously common practice of the composition of concertos by a performer to be performed personally, though the practice has continued via certain composer-performers such as Daniil Trifonov.

The Pulitzer Prize for Music is one of seven Pulitzer Prizes awarded annually in Letters, Drama, and Music. It was first given in 1943. Joseph Pulitzer arranged for a music scholarship to be awarded each year, and this was eventually converted into a prize: "For a distinguished musical composition of significant dimension by an American that has had its first performance in the United States during the year." Because of the requirement that the composition have its world premiere during the year of its award, the winning work had rarely been recorded and sometimes had received only one performance. In 2004, the terms were modified to read: "For a distinguished musical composition by an American that has had its first performance or recording in the United States during the year."

Ned Miller Rorem (October 23, 1923 – November 18, 2022) was an American composer of contemporary classical music and a writer. Best known for his art songs, which number over 500, Rorem was considered the leading American of his time writing in the genre. Frequently described as a neoromantic composer, he showed limited interest in the emerging modernist aesthetic of his lifetime. As a writer, he kept—and later published—numerous diaries in which he spoke candidly of his exchanges and relationships with many cultural figures of America and France. Born in Richmond, Indiana, Rorem found an early interest in music, studying with Margaret Bonds and Leo Sowerby. He developed a strong enthusiasm for French music and received mentorship from Aaron Copland and Virgil Thomson, among others. After two productive years in Morocco, Rorem was hosted by the arts patron Marie-Laure de Noailles in Paris, where he was influenced by the neoclassicist group Les Six, particularly Francis Poulenc and Darius Milhaud. He returned to America in around 1957, establishing himself as a prominent composer and receiving regular commissions. For the American Bicentennial, he worked on seven different commissions concurrently, among which was Air Music: Ten Etudes for Orchestra, which won a Pulitzer Prize for Music in 1976. Much of Rorem's life was spent with his lifelong partner James Holmes, between his apartment in New York and house in Nantucket. From 1980 onwards he taught at the Curtis Institute. He wrote the large-scale song cycle Evidence of Things Not Seen (1997) to 36 texts by 24 writers, for the New York Festival of Song. It is considered by commentators and Rorem himself to be his magnum opus. Much of his later compositions were devoted to concertante and his final major work was the opera Our Town (2006).

Ned Miller Rorem (October 23, 1923 – November 18, 2022) was an American composer of contemporary classical music and a writer. Best known for his art songs, which number over 500, Rorem was considered the leading American of his time writing in the genre. Frequently described as a neoromantic composer, he showed limited interest in the emerging modernist aesthetic of his lifetime. As a writer, he kept—and later published—numerous diaries in which he spoke candidly of his exchanges and relationships with many cultural figures of America and France. Born in Richmond, Indiana, Rorem found an early interest in music, studying with Margaret Bonds and Leo Sowerby. He developed a strong enthusiasm for French music and received mentorship from Aaron Copland and Virgil Thomson, among others. After two productive years in Morocco, Rorem was hosted by the arts patron Marie-Laure de Noailles in Paris, where he was influenced by the neoclassicist group Les Six, particularly Francis Poulenc and Darius Milhaud. He returned to America in around 1957, establishing himself as a prominent composer and receiving regular commissions. For the American Bicentennial, he worked on seven different commissions concurrently, among which was Air Music: Ten Etudes for Orchestra, which won a Pulitzer Prize for Music in 1976. Much of Rorem's life was spent with his lifelong partner James Holmes, between his apartment in New York and house in Nantucket. From 1980 onwards he taught at the Curtis Institute. He wrote the large-scale song cycle Evidence of Things Not Seen (1997) to 36 texts by 24 writers, for the New York Festival of Song. It is considered by commentators and Rorem himself to be his magnum opus. Much of his later compositions were devoted to concertante and his final major work was the opera Our Town (2006).

This is a list of compositions for piano and orchestra. For a description of related musical forms, see Concerto and Piano concerto.

Ned Miller Rorem (October 23, 1923 – November 18, 2022) was an American composer of contemporary classical music and a writer. Best known for his art songs, which number over 500, Rorem was considered the leading American of his time writing in the genre. Frequently described as a neoromantic composer, he showed limited interest in the emerging modernist aesthetic of his lifetime. As a writer, he kept—and later published—numerous diaries in which he spoke candidly of his exchanges and relationships with many cultural figures of America and France. Born in Richmond, Indiana, Rorem found an early interest in music, studying with Margaret Bonds and Leo Sowerby. He developed a strong enthusiasm for French music and received mentorship from Aaron Copland and Virgil Thomson, among others. After two productive years in Morocco, Rorem was hosted by the arts patron Marie-Laure de Noailles in Paris, where he was influenced by the neoclassicist group Les Six, particularly Francis Poulenc and Darius Milhaud. He returned to America in around 1957, establishing himself as a prominent composer and receiving regular commissions. For the American Bicentennial, he worked on seven different commissions concurrently, among which was Air Music: Ten Etudes for Orchestra, which won a Pulitzer Prize for Music in 1976. Much of Rorem's life was spent with his lifelong partner James Holmes, between his apartment in New York and house in Nantucket. From 1980 onwards he taught at the Curtis Institute. He wrote the large-scale song cycle Evidence of Things Not Seen (1997) to 36 texts by 24 writers, for the New York Festival of Song. It is considered by commentators and Rorem himself to be his magnum opus. Much of his later compositions were devoted to concertante and his final major work was the opera Our Town (2006).

The Violin Concerto is a composition for solo violin and chamber orchestra by the American composer Ned Rorem. The work was commissioned by the Springfield Symphony Orchestra for the violinist Jaime Laredo and composed in 1984. It was first performed by Laredo and the Springfield Symphony Orchestra conducted by Robert Gutter in the Symphony Hall, Springfield, on March 30, 1985.

Ned Rorem (1923–2022) was an American composer of contemporary classical music. Though best known for his many songs, his compositions also include operas, concertante, piano music as well as choral, chamber and orchestral works.

Ned Miller Rorem (October 23, 1923 – November 18, 2022) was an American composer of contemporary classical music and a writer. Best known for his art songs, which number over 500, Rorem was considered the leading American of his time writing in the genre. Frequently described as a neoromantic composer, he showed limited interest in the emerging modernist aesthetic of his lifetime. As a writer, he kept—and later published—numerous diaries in which he spoke candidly of his exchanges and relationships with many cultural figures of America and France. Born in Richmond, Indiana, Rorem found an early interest in music, studying with Margaret Bonds and Leo Sowerby. He developed a strong enthusiasm for French music and received mentorship from Aaron Copland and Virgil Thomson, among others. After two productive years in Morocco, Rorem was hosted by the arts patron Marie-Laure de Noailles in Paris, where he was influenced by the neoclassicist group Les Six, particularly Francis Poulenc and Darius Milhaud. He returned to America in around 1957, establishing himself as a prominent composer and receiving regular commissions. For the American Bicentennial, he worked on seven different commissions concurrently, among which was Air Music: Ten Etudes for Orchestra, which won a Pulitzer Prize for Music in 1976. Much of Rorem's life was spent with his lifelong partner James Holmes, between his apartment in New York and house in Nantucket. From 1980 onwards he taught at the Curtis Institute. He wrote the large-scale song cycle Evidence of Things Not Seen (1997) to 36 texts by 24 writers, for the New York Festival of Song. It is considered by commentators and Rorem himself to be his magnum opus. Much of his later compositions were devoted to concertante and his final major work was the opera Our Town (2006).

The Emerson String Quartet, also known as the Emerson Quartet, was an American string quartet initially formed as a student group at the Juilliard School in 1976. It was named for American poet and philosopher Ralph Waldo Emerson and began touring professionally in 1976. The ensemble taught in residence at The Hartt School in the 1980s and is currently the quartet in residence at Stony Brook University. Both of the founding violinists studied with Oscar Shumsky at Juilliard, and the two alternated as first and second violinists for the group. The Emerson Quartet was one of the first such ensembles with the two violinists alternating chairs. The Emerson Quartet was inducted into the Classical Music Hall of Fame in 2010. As of May 2014, they had released more than thirty albums and won nine Grammy Awards, as well as the prestigious Avery Fisher Prize in 2004. In 2017, the Emerson String Quartet Institute became part of the College of Arts and Sciences at Stony Brook University. The institute enables members of the current quartet and the quartet's former cellist David Finckel to mentor and coach student string quartets. In August 2021, the quartet announced its plan to disband at the end of the 2022–2023 season in order to focus on teaching and solo work. In the final season of concerts in 2022-23, the quartet gave farewell performances throughout North America and Europe. The final performance of the quartet took place on Sunday, October 22, 2023, in New York City, featuring a program of Beethoven's Op. 130 string quartet (with its original ending, the Grosse Fuge, Op. 133) and Schubert's String Quintet D. 956. The performance was filmed by Tristan Cook for a planned documentary.

This article lists the classical guitar music in the classical guitar repertoire. It includes baroque guitar and vihuela music, but not lute music. This music is most commonly performed by classical guitarists and requires the use of a variety of classical guitar techniques to play. During the Renaissance, the guitar was likely to have been used as it frequently is today in popular music, that is to provide strummed accompaniment for a singer or a small group. There also were several significant music collections published during the 16th century of contrapuntal compositions approaching the complexity, sophistication and breadth of lute music from the same period. Most Renaissance lute music has been transcribed for guitar (see List of composers for lute). The baroque guitar (c.1600–1750) was a string instrument with five courses of gut strings and moveable gut frets. The first (highest pitched) course was sometimes a single string. It replaced the Renaissance lute as the most common instrument found in the home. The romantic guitar, in use from approximately 1790 to 1830, was the guitar of the Classical and Romantic period of music, showing remarkable consistency in the instrument's construction during these decades. By this time guitars used six, sometimes more, single strings instead of courses. The romantic guitar eventually led to a different type of guitar in Spain: the fan-braced Spanish guitars of Torres, which may be seen as the immediate precursor of the modern classical guitar. In the 20th century, many non-guitarist composers wrote for the instrument, whereas previously only players of the instrument had done so.

A clarinet–violin–piano trio is a standardized chamber musical ensemble made up of one clarinet, one violin, and one piano participating in relatively equal roles, or the name of a piece written for such a group. An example of a clarinet–viola–piano trio existed several hundred years before the clarinet–violin–piano trio; Mozart composed the Kegelstatt Trio in the 18th century, and the Romantic composer Max Bruch composed a suite of eight pieces for this combination, as well as a double concerto for viola, clarinet, and orchestra. Many of these works can be (or already have been) transcribed for a clarinet–violin–piano trio. Unlike a standard piano trio or a concerto, there is no standard form for a composition for a clarinet–violin–piano trio: a piece can have any number of movements. Acoustically, the choice of a clarinet, violin, and piano is characteristic in that most chamber music (and most music in general) contains high (soprano), mid-range (alto/tenor), and low (bass/baritone) parts. However, both a clarinet and a violin play relatively high-pitched parts, making for a less-balanced sound than a trio that contains a more possible range, such as a violin–cello–piano trio. Timbral contrast is provided between the woodwind (clarinet), bowed string (violin), and keyboard instrument (piano). Aside from its classical use, this combination of instruments is common in traditional Ashkenazi Jewish music.

In classical music, a piano quintet is a work of chamber music written for piano and four other instruments, most commonly (since 1842) a string quartet (i.e., two violins, viola, and cello). The term also refers to the group of musicians that plays a piano quintet. The genre flourished during the nineteenth century. Until the middle of the nineteenth century, most piano quintets were scored for piano, violin, viola, cello, and double bass. Following the success of Robert Schumann's Piano Quintet in E♭ major, Op. 44 in 1842, which paired the piano with a string quartet, composers increasingly adopted Schumann's instrumentation, and it was this form of the piano quintet that dominated during the second half of the nineteenth century and into the twentieth century. Among the best known and most frequently performed piano quintets, aside from Schumann's, are Schubert's Trout quintet and the piano quintets of Johannes Brahms, César Franck, Antonín Dvořák and Dmitri Shostakovich.

In classical music, a piano quintet is a work of chamber music written for piano and four other instruments, most commonly (since 1842) a string quartet (i.e., two violins, viola, and cello). The term also refers to the group of musicians that plays a piano quintet. The genre flourished during the nineteenth century. Until the middle of the nineteenth century, most piano quintets were scored for piano, violin, viola, cello, and double bass. Following the success of Robert Schumann's Piano Quintet in E♭ major, Op. 44 in 1842, which paired the piano with a string quartet, composers increasingly adopted Schumann's instrumentation, and it was this form of the piano quintet that dominated during the second half of the nineteenth century and into the twentieth century. Among the best known and most frequently performed piano quintets, aside from Schumann's, are Schubert's Trout quintet and the piano quintets of Johannes Brahms, César Franck, Antonín Dvořák and Dmitri Shostakovich.