A cello concerto (sometimes called a violoncello concerto) is a concerto for solo cello with orchestra or, very occasionally, smaller groups of instruments. These pieces have been written since the Baroque era if not earlier. However, unlike instruments such as the violin, the cello had to face harsh competition from the older, well-established viola da gamba. As a result, few important cello concertos were written before the 19th century – with the notable exceptions of those by Vivaldi, C.P.E. Bach, Haydn and Boccherini. Its full recognition as a solo instrument came during the Romantic era with the concertos of Schumann, Saint-Saëns, Lalo and Dvořák. From then on, cello concertos have become more and more frequent. Twentieth-century composers have made the cello a standard concerto instrument, along with the already-rooted piano and violin concertos; among the most notable concertos of the first half of the century are those of Elgar, Prokofiev, Barber and Hindemith. Many post-World War II composers (Shostakovich, Walton, Ligeti, Britten, Dutilleux, Lutoslawski and Penderecki among others) have written at least one. One special consideration composers must take with the cello (as well as all instruments with a low range) is with the issue of projection. Unlike instruments like the violin, whose high range projects fairly easily above the orchestra, the cello's lower notes can be easily lost when the cello is not playing a solo or near solo. Because of this, composers have had to deliberately pare down the orchestral component of cello concertos while the cello is playing in the lower registers.

A cello concerto (sometimes called a violoncello concerto) is a concerto for solo cello with orchestra or, very occasionally, smaller groups of instruments. These pieces have been written since the Baroque era if not earlier. However, unlike instruments such as the violin, the cello had to face harsh competition from the older, well-established viola da gamba. As a result, few important cello concertos were written before the 19th century – with the notable exceptions of those by Vivaldi, C.P.E. Bach, Haydn and Boccherini. Its full recognition as a solo instrument came during the Romantic era with the concertos of Schumann, Saint-Saëns, Lalo and Dvořák. From then on, cello concertos have become more and more frequent. Twentieth-century composers have made the cello a standard concerto instrument, along with the already-rooted piano and violin concertos; among the most notable concertos of the first half of the century are those of Elgar, Prokofiev, Barber and Hindemith. Many post-World War II composers (Shostakovich, Walton, Ligeti, Britten, Dutilleux, Lutoslawski and Penderecki among others) have written at least one. One special consideration composers must take with the cello (as well as all instruments with a low range) is with the issue of projection. Unlike instruments like the violin, whose high range projects fairly easily above the orchestra, the cello's lower notes can be easily lost when the cello is not playing a solo or near solo. Because of this, composers have had to deliberately pare down the orchestral component of cello concertos while the cello is playing in the lower registers.

Carl Maria von Weber wrote his Clarinet Concerto No. 1 in F minor, Op. 73 (J. 114) for the clarinettist Heinrich Bärmann in 1811. The piece is highly regarded in the instrument's repertoire. It is written for clarinet in B♭. The work consists of three movements in the form of fast, slow, fast. It was premiered in Munich on 13 June 1811, with Maximilian I Joseph of Bavaria in attendance.

A clarinet concerto is a concerto for clarinet; that is, a musical composition for solo clarinet together with a large ensemble (such as an orchestra or concert band). Albert Rice has identified a work by Giuseppe Antonio Paganelli as possibly the earliest known concerto for solo clarinet; its score appears to be titled "Concerto per il Clareto" and may date from 1733. It may, however, be intended for soprano chalumeau. There are earlier concerti grossi with concertino clarinet parts including two by Johann Valentin Rathgeber, published in 1728. Famed publishing house Breitkopf & Härtel published the first clarinet concerto in 1772. The instrument's popularity soared and a flurry of early clarinet concertos ensued. Many of these early concertos have largely been forgotten, though German clarinettist Dieter Klocker specialized in these "lost" works. Famous clarinet concertos of the Classical and early Romantic era include those of Wolfgang Amadeus Mozart, Carl Maria von Weber and Louis Spohr. Relatively few clarinet concertos, or wind instrument concertos generally, were produced during the middle and late Romantic music era, but the form became more popular in the twentieth century, with famous clarinet concertos from Carl Nielsen and Aaron Copland, as well as more recent ones by composers such as John Adams, Kalevi Aho, Elliott Carter, John Corigliano, Magnus Lindberg, Donald Martino, Christopher Rouse, and John Williams.

A clarinet concerto is a concerto for clarinet; that is, a musical composition for solo clarinet together with a large ensemble (such as an orchestra or concert band). Albert Rice has identified a work by Giuseppe Antonio Paganelli as possibly the earliest known concerto for solo clarinet; its score appears to be titled "Concerto per il Clareto" and may date from 1733. It may, however, be intended for soprano chalumeau. There are earlier concerti grossi with concertino clarinet parts including two by Johann Valentin Rathgeber, published in 1728. Famed publishing house Breitkopf & Härtel published the first clarinet concerto in 1772. The instrument's popularity soared and a flurry of early clarinet concertos ensued. Many of these early concertos have largely been forgotten, though German clarinettist Dieter Klocker specialized in these "lost" works. Famous clarinet concertos of the Classical and early Romantic era include those of Wolfgang Amadeus Mozart, Carl Maria von Weber and Louis Spohr. Relatively few clarinet concertos, or wind instrument concertos generally, were produced during the middle and late Romantic music era, but the form became more popular in the twentieth century, with famous clarinet concertos from Carl Nielsen and Aaron Copland, as well as more recent ones by composers such as John Adams, Kalevi Aho, Elliott Carter, John Corigliano, Magnus Lindberg, Donald Martino, Christopher Rouse, and John Williams.

A clarinet concerto is a concerto for clarinet; that is, a musical composition for solo clarinet together with a large ensemble (such as an orchestra or concert band). Albert Rice has identified a work by Giuseppe Antonio Paganelli as possibly the earliest known concerto for solo clarinet; its score appears to be titled "Concerto per il Clareto" and may date from 1733. It may, however, be intended for soprano chalumeau. There are earlier concerti grossi with concertino clarinet parts including two by Johann Valentin Rathgeber, published in 1728. Famed publishing house Breitkopf & Härtel published the first clarinet concerto in 1772. The instrument's popularity soared and a flurry of early clarinet concertos ensued. Many of these early concertos have largely been forgotten, though German clarinettist Dieter Klocker specialized in these "lost" works. Famous clarinet concertos of the Classical and early Romantic era include those of Wolfgang Amadeus Mozart, Carl Maria von Weber and Louis Spohr. Relatively few clarinet concertos, or wind instrument concertos generally, were produced during the middle and late Romantic music era, but the form became more popular in the twentieth century, with famous clarinet concertos from Carl Nielsen and Aaron Copland, as well as more recent ones by composers such as John Adams, Kalevi Aho, Elliott Carter, John Corigliano, Magnus Lindberg, Donald Martino, Christopher Rouse, and John Williams.

A clarinet concerto is a concerto for clarinet; that is, a musical composition for solo clarinet together with a large ensemble (such as an orchestra or concert band). Albert Rice has identified a work by Giuseppe Antonio Paganelli as possibly the earliest known concerto for solo clarinet; its score appears to be titled "Concerto per il Clareto" and may date from 1733. It may, however, be intended for soprano chalumeau. There are earlier concerti grossi with concertino clarinet parts including two by Johann Valentin Rathgeber, published in 1728. Famed publishing house Breitkopf & Härtel published the first clarinet concerto in 1772. The instrument's popularity soared and a flurry of early clarinet concertos ensued. Many of these early concertos have largely been forgotten, though German clarinettist Dieter Klocker specialized in these "lost" works. Famous clarinet concertos of the Classical and early Romantic era include those of Wolfgang Amadeus Mozart, Carl Maria von Weber and Louis Spohr. Relatively few clarinet concertos, or wind instrument concertos generally, were produced during the middle and late Romantic music era, but the form became more popular in the twentieth century, with famous clarinet concertos from Carl Nielsen and Aaron Copland, as well as more recent ones by composers such as John Adams, Kalevi Aho, Elliott Carter, John Corigliano, Magnus Lindberg, Donald Martino, Christopher Rouse, and John Williams.

A clarinet concerto is a concerto for clarinet; that is, a musical composition for solo clarinet together with a large ensemble (such as an orchestra or concert band). Albert Rice has identified a work by Giuseppe Antonio Paganelli as possibly the earliest known concerto for solo clarinet; its score appears to be titled "Concerto per il Clareto" and may date from 1733. It may, however, be intended for soprano chalumeau. There are earlier concerti grossi with concertino clarinet parts including two by Johann Valentin Rathgeber, published in 1728. Famed publishing house Breitkopf & Härtel published the first clarinet concerto in 1772. The instrument's popularity soared and a flurry of early clarinet concertos ensued. Many of these early concertos have largely been forgotten, though German clarinettist Dieter Klocker specialized in these "lost" works. Famous clarinet concertos of the Classical and early Romantic era include those of Wolfgang Amadeus Mozart, Carl Maria von Weber and Louis Spohr. Relatively few clarinet concertos, or wind instrument concertos generally, were produced during the middle and late Romantic music era, but the form became more popular in the twentieth century, with famous clarinet concertos from Carl Nielsen and Aaron Copland, as well as more recent ones by composers such as John Adams, Kalevi Aho, Elliott Carter, John Corigliano, Magnus Lindberg, Donald Martino, Christopher Rouse, and John Williams.

Carl Philipp Stamitz (Czech: Karel Stamic; born in Mannheim and baptized 8 May 1745 – 9 November 1801), was a German composer of partial Czech ancestry. He was the most prominent representative of the second generation of the Mannheim School. He was the eldest son of Johann Stamitz, a violinist and composer of the early classical period. He received lessons from his father and Christian Cannabich, his father's successor as leader of the Mannheim orchestra. As a youth, Stamitz was employed as a violinist in the court orchestra at Mannheim. In 1770, he began travelling as a virtuoso, accepting short-term engagements, but never managing to gain a permanent position. He visited a number of European cities, living for a time in Strasbourg and London. In 1794, he gave up travelling and moved with his family to Jena in central Germany. His circumstances deteriorated and he descended into debt and poverty, dying in 1801. Many tracts on alchemy were found in his library after his death. Stamitz wrote symphonies, symphonies concertantes, and concertos for clarinet, cello, flute, oboe, bassoon, basset horn, violin, viola, viola d'amore, and different combinations of these instruments. Some of his clarinet and viola concertos are particularly admired. He also wrote duos, trios, and quartets. Two operas, Der verliebte Vormund and Dardanus, are now lost. Stylistically, his music resembles that of Mozart or Haydn and is characterized by appealing melodies, although his writing for the solo instruments is not excessively virtuosic. The opening movements of his orchestral works, which are in sonata form, are generally followed by expressive and lyrical middle movements and the final movements in the form of a rondo.

Carl Philipp Stamitz (Czech: Karel Stamic; born in Mannheim and baptized 8 May 1745 – 9 November 1801), was a German composer of partial Czech ancestry. He was the most prominent representative of the second generation of the Mannheim School. He was the eldest son of Johann Stamitz, a violinist and composer of the early classical period. He received lessons from his father and Christian Cannabich, his father's successor as leader of the Mannheim orchestra. As a youth, Stamitz was employed as a violinist in the court orchestra at Mannheim. In 1770, he began travelling as a virtuoso, accepting short-term engagements, but never managing to gain a permanent position. He visited a number of European cities, living for a time in Strasbourg and London. In 1794, he gave up travelling and moved with his family to Jena in central Germany. His circumstances deteriorated and he descended into debt and poverty, dying in 1801. Many tracts on alchemy were found in his library after his death. Stamitz wrote symphonies, symphonies concertantes, and concertos for clarinet, cello, flute, oboe, bassoon, basset horn, violin, viola, viola d'amore, and different combinations of these instruments. Some of his clarinet and viola concertos are particularly admired. He also wrote duos, trios, and quartets. Two operas, Der verliebte Vormund and Dardanus, are now lost. Stylistically, his music resembles that of Mozart or Haydn and is characterized by appealing melodies, although his writing for the solo instruments is not excessively virtuosic. The opening movements of his orchestral works, which are in sonata form, are generally followed by expressive and lyrical middle movements and the final movements in the form of a rondo.

Carl Philipp Stamitz (Czech: Karel Stamic; born in Mannheim and baptized 8 May 1745 – 9 November 1801), was a German composer of partial Czech ancestry. He was the most prominent representative of the second generation of the Mannheim School. He was the eldest son of Johann Stamitz, a violinist and composer of the early classical period. He received lessons from his father and Christian Cannabich, his father's successor as leader of the Mannheim orchestra. As a youth, Stamitz was employed as a violinist in the court orchestra at Mannheim. In 1770, he began travelling as a virtuoso, accepting short-term engagements, but never managing to gain a permanent position. He visited a number of European cities, living for a time in Strasbourg and London. In 1794, he gave up travelling and moved with his family to Jena in central Germany. His circumstances deteriorated and he descended into debt and poverty, dying in 1801. Many tracts on alchemy were found in his library after his death. Stamitz wrote symphonies, symphonies concertantes, and concertos for clarinet, cello, flute, oboe, bassoon, basset horn, violin, viola, viola d'amore, and different combinations of these instruments. Some of his clarinet and viola concertos are particularly admired. He also wrote duos, trios, and quartets. Two operas, Der verliebte Vormund and Dardanus, are now lost. Stylistically, his music resembles that of Mozart or Haydn and is characterized by appealing melodies, although his writing for the solo instruments is not excessively virtuosic. The opening movements of his orchestral works, which are in sonata form, are generally followed by expressive and lyrical middle movements and the final movements in the form of a rondo.

A clarinet concerto is a concerto for clarinet; that is, a musical composition for solo clarinet together with a large ensemble (such as an orchestra or concert band). Albert Rice has identified a work by Giuseppe Antonio Paganelli as possibly the earliest known concerto for solo clarinet; its score appears to be titled "Concerto per il Clareto" and may date from 1733. It may, however, be intended for soprano chalumeau. There are earlier concerti grossi with concertino clarinet parts including two by Johann Valentin Rathgeber, published in 1728. Famed publishing house Breitkopf & Härtel published the first clarinet concerto in 1772. The instrument's popularity soared and a flurry of early clarinet concertos ensued. Many of these early concertos have largely been forgotten, though German clarinettist Dieter Klocker specialized in these "lost" works. Famous clarinet concertos of the Classical and early Romantic era include those of Wolfgang Amadeus Mozart, Carl Maria von Weber and Louis Spohr. Relatively few clarinet concertos, or wind instrument concertos generally, were produced during the middle and late Romantic music era, but the form became more popular in the twentieth century, with famous clarinet concertos from Carl Nielsen and Aaron Copland, as well as more recent ones by composers such as John Adams, Kalevi Aho, Elliott Carter, John Corigliano, Magnus Lindberg, Donald Martino, Christopher Rouse, and John Williams.

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.

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. Some major composers have contributed to the flute concerto repertoire, with the best known works including those by Mozart and Vivaldi. Traditionally a three-movement work, the modern-day flute concerto has occasionally been structured in four or more movements. In some flute concertos, especially from the Baroque and modern eras, the flute is accompanied by a chamber ensemble rather than an orchestra.

A clarinet concerto is a concerto for clarinet; that is, a musical composition for solo clarinet together with a large ensemble (such as an orchestra or concert band). Albert Rice has identified a work by Giuseppe Antonio Paganelli as possibly the earliest known concerto for solo clarinet; its score appears to be titled "Concerto per il Clareto" and may date from 1733. It may, however, be intended for soprano chalumeau. There are earlier concerti grossi with concertino clarinet parts including two by Johann Valentin Rathgeber, published in 1728. Famed publishing house Breitkopf & Härtel published the first clarinet concerto in 1772. The instrument's popularity soared and a flurry of early clarinet concertos ensued. Many of these early concertos have largely been forgotten, though German clarinettist Dieter Klocker specialized in these "lost" works. Famous clarinet concertos of the Classical and early Romantic era include those of Wolfgang Amadeus Mozart, Carl Maria von Weber and Louis Spohr. Relatively few clarinet concertos, or wind instrument concertos generally, were produced during the middle and late Romantic music era, but the form became more popular in the twentieth century, with famous clarinet concertos from Carl Nielsen and Aaron Copland, as well as more recent ones by composers such as John Adams, Kalevi Aho, Elliott Carter, John Corigliano, Magnus Lindberg, Donald Martino, Christopher Rouse, and John Williams.

The Oboe Concerto in C major, H. VIIg:C1, commonly attributed to Joseph Haydn, was most likely composed around 1790. However, modern musicologists agree that Haydn did not write the concerto.

Carl Philipp Stamitz (Czech: Karel Stamic; born in Mannheim and baptized 8 May 1745 – 9 November 1801), was a German composer of partial Czech ancestry. He was the most prominent representative of the second generation of the Mannheim School. He was the eldest son of Johann Stamitz, a violinist and composer of the early classical period. He received lessons from his father and Christian Cannabich, his father's successor as leader of the Mannheim orchestra. As a youth, Stamitz was employed as a violinist in the court orchestra at Mannheim. In 1770, he began travelling as a virtuoso, accepting short-term engagements, but never managing to gain a permanent position. He visited a number of European cities, living for a time in Strasbourg and London. In 1794, he gave up travelling and moved with his family to Jena in central Germany. His circumstances deteriorated and he descended into debt and poverty, dying in 1801. Many tracts on alchemy were found in his library after his death. Stamitz wrote symphonies, symphonies concertantes, and concertos for clarinet, cello, flute, oboe, bassoon, basset horn, violin, viola, viola d'amore, and different combinations of these instruments. Some of his clarinet and viola concertos are particularly admired. He also wrote duos, trios, and quartets. Two operas, Der verliebte Vormund and Dardanus, are now lost. Stylistically, his music resembles that of Mozart or Haydn and is characterized by appealing melodies, although his writing for the solo instruments is not excessively virtuosic. The opening movements of his orchestral works, which are in sonata form, are generally followed by expressive and lyrical middle movements and the final movements in the form of a rondo.

The String Quartet No. 12 in F major, Op. 96 (B. 179), nicknamed the American Quartet, is the twelfth string quartet composed by Antonín Dvořák. It was written in 1893, during Dvořák's time in the United States. The quartet is one of the most popular in the chamber music repertoire.

Anton Thadäus Johann Nepomuk Stamitz (November 1750 – c. 1798–1809) was a German composer and violinist. He was born in the Holy Roman Empire. Anton was born during a family visit to Německý Brod and baptised there on 27 November 1750. He and his brother Carl received their first violin instruction from their father Johann. After their father's death in 1757 they were taken on as students by Christian Cannabich, who had been a student of their father's. Both were by this time already violinists in the Mannheimer Kapelle and participated in its development. In 1770, with his brother Carl, he visited Paris and established himself there. Between 1782 and 1789 he played in the King's court orchestra in Versailles, and obtained the title ordinaire de la musique du roi. He was the violin teacher of Rodolphe Kreutzer. His biography after the French Revolution in 1789 is not known, but he probably died in Paris or Versailles. He may have died as late as 1809.

The viola ( vee-OH-lə, () Italian: [ˈvjɔːla, viˈɔːla]) is a string instrument of the violin family, and is usually bowed when played. The viola is slightly larger than the violin and has a lower sound. Since the 18th century, it has been the middle or alto voice of the violin family, between the violin (which is tuned a perfect fifth higher) and the cello (which is tuned an octave lower). The strings from low to high are typically tuned to C3, G3, D4, and A4. In the past, the viola varied in size and style, as did its names. The word viola originates from the Italian language. The Italians often used the term viola da braccio, meaning, literally, 'of the arm'. "Brazzo" was another Italian word for the viola, which the Germans adopted as Bratsche. The French had their own names: cinquiesme was a small viola, haute contre was a large viola, and taile was a tenor. Today, the French use the term alto, a reference to its range. The viola was popular in the heyday of five-part harmony, up until the eighteenth century, taking three lines of the harmony and occasionally playing the melody line. Music notation for the viola differs from most other instruments in that it primarily uses the alto clef. When viola music has substantial sections in a higher register, it switches to the treble clef to make it easier to read. The viola often plays the "inner voices" in string quartets and symphonic writing, and it is more likely than the first violin to play accompaniment parts. The viola occasionally plays a major, soloistic role in orchestral or chamber music. Examples include the symphonic poem Don Quixote, by Richard Strauss, the 13th Quartet by Dmitri Shostakovich, and a symphony with a main viola line: Harold en Italie, by Hector Berlioz. In the earlier part of the 20th century, more composers began to write for the viola, encouraged by the emergence of specialized soloists such as Lionel Tertis and William Primrose. English composers Arthur Bliss, Edwin York Bowen, Benjamin Dale, Frank Bridge, Benjamin Britten, Rebecca Clarke and Ralph Vaughan Williams all wrote substantial chamber and concert works. Many of these pieces were commissioned by, or written for, Tertis. William Walton, Bohuslav Martinů, Tōru Takemitsu, Tibor Serly, Alfred Schnittke, and Béla Bartók have written well-known viola concertos. The concerti by Bartók, Paul Hindemith, Carl Stamitz, Georg Philipp Telemann, and Walton are considered major works of the viola repertoire. Hindemith, who was a violist, wrote a substantial amount of music for viola, including the concerto Der Schwanendreher.

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.

This is a list of composers who have written symphonies, listed in chronological order by year of birth, alphabetical within year. It includes only composers of significant fame, notability or importance who have Wikipedia articles. For lists of music composers by other classifications, see Lists of composers.

Johann Wenzel Anton Stamitz (Czech: Jan Václav Antonín Stamic; 18 June 1717 – 27 March 1757) was a Czech composer and violinist. Johann is considered the founding father of the Mannheim school, a composition style that his two surviving sons, Carl and Anton Stamitz, continued. His music is stylistically transitional between the Baroque and Classical periods and he is recognized for many innovations.

This is a list of symphonies in G major written by notable composers.

This is a list of composers who have written symphonies, listed in chronological order by year of birth, alphabetical within year. It includes only composers of significant fame, notability or importance who have Wikipedia articles. For lists of music composers by other classifications, see Lists of composers.

Joseph Haydn's Symphony No. 31 in D major, Hob. I/31, was composed in 1765 for Haydn's employer Prince Nikolaus Esterházy. It is nicknamed the Hornsignal Symphony because it gives a prominent role to an unusually large horn section of four players. Probably because of its prominent obbligato writing for the horns, in Paris, the publisher Sieber published this symphony as a "symphonie concertante" around 1785.

The Symphony in E-flat major, Op. 11, No. 3 is a late symphony by Johann Stamitz, likely written in Paris in 1754 or 1755. It was published as No. 6 in a 1769 publication of six symphonies by Stamitz. This is one of his last symphonies and follows the standard four-movement symphonic scheme of the time: Allegro assai Andantino Menuetto – Trio Prestissimo The symphony is approximately fifteen minutes in length and demonstrates Stamitz's late symphonic style. It represents the culmination of the Mannheim school of orchestral playing, which emphasized extended techniques for the instruments and attention to the details of dynamics. The concept of Sturm und Drang can be heard in this work with its sudden dynamic changes and a sharp texture change, presented when the oboes enter with the "B" theme.

This is a list of composers who have written symphonies, listed in chronological order by year of birth, alphabetical within year. It includes only composers of significant fame, notability or importance who have Wikipedia articles. For lists of music composers by other classifications, see Lists of composers.

In music, Op. 11 stands for Opus number 11. Compositions that are assigned this number include: Barber – Adagio for Strings Barber – String Quartet Beethoven – Piano Trio, Op. 11 Boccherini – String Quintet in E major, Op. 11, No. 5 Brahms – Serenade No. 1 Chopin – Piano Concerto No. 1 Dvořák – Romance in F minor Elgar – Sursum corda Enescu – Romanian Rhapsodies Fanny Hensel – Piano Trio Gottschalk – Le Mancenillier Granados – Goyescas Grieg – In Autumn Hindemith – Viola Sonata No. 1 Hindemith – Violin Sonata No. 2 Karłowicz – Lithuanian Rhapsody Mendelssohn – Symphony No. 1 Prokofiev – Toccata Racine – Cantique de Jean Racine Schoenberg – Drei Klavierstücke Schumann – Piano Sonata No. 1 Scriabin – 24 Preludes, Op. 11 Sibelius – Karelia Suite, for orchestra (1893) Siegfried Wagner – An allem ist Hütchen schuld! Spohr – String Quartet No. 3 Stamitz – Symphony in E-flat major, Op. 11, No. 3 Stanford – Violin Sonata No. 1 Strauss – Horn Concerto No. 1 Tchaikovsky – String Quartet No. 1 Vivaldi – Six Concertos, Op. 11 Zemlinsky – Der Traumgörge

Joseph Bologne, Chevalier de Saint-George(s) (; French: [ʒozɛf bɔlɔɲ]; 25 December 1745 – 9 June 1799) was a French violinist, conductor, composer and soldier of African descent. Moreover, he demonstrated excellence as a fencer, an athlete, and an accomplished dancer. His historical significance lies partly in his distinctive background as a biracial free man of colour. Bologne was the first classical composer of African descent to attain widespread acclaim in European music. He composed an array of violin concertos, string quartets, sinfonia concertantes, violin duets, sonatas, two symphonies, and an assortment of stage works, notably opéra comique. Born in the French colony of Guadeloupe, his father, Georges Bologne de Saint-Georges, was a wealthy, white plantation owner, while his mother was one of the Senegalese enslaved people Georges kept enslaved. At the age of seven, he was taken to France where he began his formal education. As a young man he won a fencing contest leading to his appointment as a "gendarme de la garde du roi" by king Louis XVI. Having received music and musical composition lessons, he joined the orchestra Le Concert des Amateurs; culminating in his appointment as its conductor in 1773. In 1776, Saint-Georges began conducting the Paris Opera. However, this prospect was thwarted by opposition from certain performers who resisted the idea of being led by an individual of colour. Around this time, he shifted his focus to composing operas. In 1781, he joined a new orchestra Le Concert de la Loge Olympique. By 1785, he had stopped composing instrumental works altogether. Following the outbreak of the French Revolution in 1789, Saint-Georges left for England. Upon his return to France, he joined the National Guard in Lille and then served as a colonel in the Légion St.-Georges, which comprised "citizens of colour". His social and professional ties to prominent figures such as Marie Antoinette and the Duke of Orléans made him a target of the Reign of Terror, culminating in a period of imprisonment spanning at least eleven months. Saint-Georges, a contemporary of Mozart, has at times been called the "Black Mozart." Some have criticized this appellation as racist, but others have used it to champion Saint-Georges; the violinist Randall Goosby said, “I prefer to think of Mozart as the white Chevalier."

This is a list of composers who have written symphonies, listed in chronological order by year of birth, alphabetical within year. It includes only composers of significant fame, notability or importance who have Wikipedia articles. For lists of music composers by other classifications, see Lists of composers.

Carl Philipp Stamitz (Czech: Karel Stamic; born in Mannheim and baptized 8 May 1745 – 9 November 1801), was a German composer of partial Czech ancestry. He was the most prominent representative of the second generation of the Mannheim School. He was the eldest son of Johann Stamitz, a violinist and composer of the early classical period. He received lessons from his father and Christian Cannabich, his father's successor as leader of the Mannheim orchestra. As a youth, Stamitz was employed as a violinist in the court orchestra at Mannheim. In 1770, he began travelling as a virtuoso, accepting short-term engagements, but never managing to gain a permanent position. He visited a number of European cities, living for a time in Strasbourg and London. In 1794, he gave up travelling and moved with his family to Jena in central Germany. His circumstances deteriorated and he descended into debt and poverty, dying in 1801. Many tracts on alchemy were found in his library after his death. Stamitz wrote symphonies, symphonies concertantes, and concertos for clarinet, cello, flute, oboe, bassoon, basset horn, violin, viola, viola d'amore, and different combinations of these instruments. Some of his clarinet and viola concertos are particularly admired. He also wrote duos, trios, and quartets. Two operas, Der verliebte Vormund and Dardanus, are now lost. Stylistically, his music resembles that of Mozart or Haydn and is characterized by appealing melodies, although his writing for the solo instruments is not excessively virtuosic. The opening movements of his orchestral works, which are in sonata form, are generally followed by expressive and lyrical middle movements and the final movements in the form of a rondo.

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.

Carl Philipp Stamitz (Czech: Karel Stamic; born in Mannheim and baptized 8 May 1745 – 9 November 1801), was a German composer of partial Czech ancestry. He was the most prominent representative of the second generation of the Mannheim School. He was the eldest son of Johann Stamitz, a violinist and composer of the early classical period. He received lessons from his father and Christian Cannabich, his father's successor as leader of the Mannheim orchestra. As a youth, Stamitz was employed as a violinist in the court orchestra at Mannheim. In 1770, he began travelling as a virtuoso, accepting short-term engagements, but never managing to gain a permanent position. He visited a number of European cities, living for a time in Strasbourg and London. In 1794, he gave up travelling and moved with his family to Jena in central Germany. His circumstances deteriorated and he descended into debt and poverty, dying in 1801. Many tracts on alchemy were found in his library after his death. Stamitz wrote symphonies, symphonies concertantes, and concertos for clarinet, cello, flute, oboe, bassoon, basset horn, violin, viola, viola d'amore, and different combinations of these instruments. Some of his clarinet and viola concertos are particularly admired. He also wrote duos, trios, and quartets. Two operas, Der verliebte Vormund and Dardanus, are now lost. Stylistically, his music resembles that of Mozart or Haydn and is characterized by appealing melodies, although his writing for the solo instruments is not excessively virtuosic. The opening movements of his orchestral works, which are in sonata form, are generally followed by expressive and lyrical middle movements and the final movements in the form of a rondo.