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.

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 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 following is a list of compositions by the Italian Baroque composer Antonio Vivaldi (1678–1741).

This is an alphabetically ordered list of sub-titles, nicknames and non-numeric titles that have been applied to classical music compositions of types that are normally identified only by some combination of number, key and catalogue number. These types of compositions include: symphony, concerto, sonata, and standard chamber music combinations (strings trio, quartet, quintet, sextet, etc.; piano trio, quartet, quintet, sextet, etc.), among others. A sub-title is a subsidiary name given to a work by the composer, and considered part of its formal title, such as: The Age of Anxiety, the sub-title of Bernstein's Symphony No. 2 Pathétique, the sub-title of Tchaikovsky's Symphony No. 6 in B minor, Op. 74. A nickname is a name that is not part of the title given by the composer, but has come to be popularly associated with the work, such as: Emperor, the nickname of Beethoven's Piano Concerto No. 5 in E-flat major, Op. 73 Jupiter, the nickname of Mozart's Symphony No. 41 in C major, K. 551. A non-numeric title is a formal title that departs from the usual sequential numbering of works of the same type, such as: Symphonie fantastique by Berlioz and Warsaw Concerto by Addinsell.

Below is a list of compositions by Fritz Kreisler sorted by genre.

The Concerto for Two Violins in D minor, BWV 1043, also known as the Double Violin Concerto, is a violin concerto of the Late Baroque era, which Johann Sebastian Bach composed around 1730. It is one of the composer's most successful works.

The Concerto for Two Violins in D minor, BWV 1043, also known as the Double Violin Concerto, is a violin concerto of the Late Baroque era, which Johann Sebastian Bach composed around 1730. It is one of the composer's most successful works.

The Concerto for Two Violins in D minor, BWV 1043, also known as the Double Violin Concerto, is a violin concerto of the Late Baroque era, which Johann Sebastian Bach composed around 1730. It is one of the composer's most successful works.

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.

This is an alphabetically ordered list of sub-titles, nicknames and non-numeric titles that have been applied to classical music compositions of types that are normally identified only by some combination of number, key and catalogue number. These types of compositions include: symphony, concerto, sonata, and standard chamber music combinations (strings trio, quartet, quintet, sextet, etc.; piano trio, quartet, quintet, sextet, etc.), among others. A sub-title is a subsidiary name given to a work by the composer, and considered part of its formal title, such as: The Age of Anxiety, the sub-title of Bernstein's Symphony No. 2 Pathétique, the sub-title of Tchaikovsky's Symphony No. 6 in B minor, Op. 74. A nickname is a name that is not part of the title given by the composer, but has come to be popularly associated with the work, such as: Emperor, the nickname of Beethoven's Piano Concerto No. 5 in E-flat major, Op. 73 Jupiter, the nickname of Mozart's Symphony No. 41 in C major, K. 551. A non-numeric title is a formal title that departs from the usual sequential numbering of works of the same type, such as: Symphonie fantastique by Berlioz and Warsaw Concerto by Addinsell.

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 Concerto for Two Violins in D minor, BWV 1043, also known as the Double Violin Concerto, is a violin concerto of the Late Baroque era, which Johann Sebastian Bach composed around 1730. It is one of the composer's most successful works.

This is a non exhaustive compilation of pieces for solo violin. See also the entries on violin and the List of compositions for violin and orchestra and list of compositions for violin and piano. Ordering is by surname of composer.

A violin sonata is a musical composition for violin, which is nearly always accompanied by a piano or other keyboard instrument, or by figured bass in the Baroque period.

The Concerto for Two Violins in D minor, BWV 1043, also known as the Double Violin Concerto, is a violin concerto of the Late Baroque era, which Johann Sebastian Bach composed around 1730. It is one of the composer's most successful works.

This is a list of musical compositions for violin and orchestra. See entries for concerto and violin concerto for a description of related musical forms.

This is a list of musical compositions for violin and orchestra. See entries for concerto and violin concerto for a description of related musical forms.

Below is a list of compositions by Fritz Kreisler sorted by genre.

Below is a list of compositions by Fritz Kreisler sorted by genre.

This is a list of musical compositions for violin and orchestra. See entries for concerto and violin concerto for a description of related musical forms.

This is a list of musical compositions for violin and orchestra. See entries for concerto and violin concerto for a description of related musical forms.

Niccolò (or Nicolò) Paganini (; Italian: [ni(k)koˈlɔ ppaɡaˈniːni] ; 27 October 1782 – 27 May 1840) was an Italian violinist and composer. He was the most celebrated violin virtuoso of his time, and left his mark as one of the pillars of modern violin technique. His 24 Caprices for Solo Violin Op. 1 are among the best known of his compositions and have served as an inspiration for many prominent composers. Son of a ship chandler from Genoa, Paganini showed great gifts for music from an early age and studied under Alessandro Rolla, Ferdinando Paer and Gasparo Ghiretti. Accompanied by his father, he toured northern Italy extensively as a teenager. By 1805 he had come into the service of Napoleon's sister, Elisa Bonaparte, who then ruled Lucca where Paganini was first violin. From 1809 on he returned to touring and achieved continental fame in the subsequent two and a half decades, developing a reputation for his technical brilliance and showmanship, as well as his extravagant, philandering lifestyle. Paganini ended his concert career in 1834 amid declining health, and the failure of his Paris casino left him in financial ruin. He retired to southern France and died in Nice in 1840 at the age of 57.

This is a list of musical compositions for violin and orchestra. See entries for concerto and violin concerto for a description of related musical forms.

This is an alphabetically ordered list of sub-titles, nicknames and non-numeric titles that have been applied to classical music compositions of types that are normally identified only by some combination of number, key and catalogue number. These types of compositions include: symphony, concerto, sonata, and standard chamber music combinations (strings trio, quartet, quintet, sextet, etc.; piano trio, quartet, quintet, sextet, etc.), among others. A sub-title is a subsidiary name given to a work by the composer, and considered part of its formal title, such as: The Age of Anxiety, the sub-title of Bernstein's Symphony No. 2 Pathétique, the sub-title of Tchaikovsky's Symphony No. 6 in B minor, Op. 74. A nickname is a name that is not part of the title given by the composer, but has come to be popularly associated with the work, such as: Emperor, the nickname of Beethoven's Piano Concerto No. 5 in E-flat major, Op. 73 Jupiter, the nickname of Mozart's Symphony No. 41 in C major, K. 551. A non-numeric title is a formal title that departs from the usual sequential numbering of works of the same type, such as: Symphonie fantastique by Berlioz and Warsaw Concerto by Addinsell.

The Concerto for Two Violins in D minor, BWV 1043, also known as the Double Violin Concerto, is a violin concerto of the Late Baroque era, which Johann Sebastian Bach composed around 1730. It is one of the composer's most successful works.

A Stradivarius is a string instrument, such as a violin, viola, cello, or guitar, crafted during the late 17th and early 18th centuries by Antonio Stradivari (Latin: Antonius Stradivarius) and other members of the Stradivari family in Cremona, Italy. These instruments are known for their craftsmanship, tonal quality, and lasting legacy, and are considered some of the finest ever made. Stradivari's violins, in particular, are coveted by musicians and collectors, with many selling for millions of dollars. Antonio Stradivari made over 1,100 instruments, with approximately 650 surviving today. The exact methods Stradivari used to produce the instruments' famed sound remain unknown, with theories ranging from the unique quality of the wood used during the Little Ice Age to the varnishes and chemical treatments applied. Despite extensive scientific research, including modern acoustic analysis and CT scans, no one has conclusively replicated or fully explained the tonal qualities of Stradivarius instruments. The reputation of Stradivarius instruments for having unmatched sound quality has been debated. Blind experiments conducted since the 19th century have often found no significant difference between Stradivari and high-quality modern violins. These findings have made some question the objectivity of the instruments' legendary status. Stradivarius instruments are still played by leading musicians and housed in museums worldwide, such as the Museo del Violino in Cremona, which preserves several Stradivarius instruments. Initiatives like the Stradivarius Sound Bank have aimed to digitally capture and preserve the sounds of these instruments for future generations. Stradivarius instruments have become known in popular culture, appearing in fiction and representing elite musical artistry.

The Concerto for Two Violins in D minor, BWV 1043, also known as the Double Violin Concerto, is a violin concerto of the Late Baroque era, which Johann Sebastian Bach composed around 1730. It is one of the composer's most successful works.

Wolfgang Amadeus Mozart's Violin Concerto No. 1 in B♭ major, K. 207, once was supposed to have been composed in 1775 (when Mozart was 19), along with his other four violin concertos. However, analysis of handwriting and the manuscript paper on which the concerto was written suggest that the date of composition might have been 1773, specifically with a completion date of April 1773. If this date is correct, the concerto is likely to be Mozart's first original concerto. It exhibits the usual fast–slow–fast structure that was predominant for solo concertos of the late eighteenth century. The musicologist Wolfgang Plath, after critically analysing the autograph score of all five of Mozart's violin concertos, discovered that the last two digits of the date on each had been tampered with. According to Plath, all dates were altered to read 1780 at some point, and subsequently changed back to 1775 later. Using evidence displayed in the handwriting and watermarks, Plath argued that the latter date was most likely correct for the last four concertos, but he refuted the claim of K. 207 being written in the same year; he proposed that the work, instead, originally bore a date of 1773. The reason for the composition of the violin concertos is generally uncertain, although it is evident that the composer performed them in public on several occasions. Contrary to the erroneous statement that implies otherwise, they could not have been written for Antonio Brunetti, the concertmaster of the Salzburg court orchestra, due to the fact that (as observed by Zaslaw) the violinist only assumed the post in 1776. Zaslaw also addresses the Kolb issue. This is in reference to a violin concerto mentioned by Wolfgang's father, Leopold, in a letter from August 1778, reading: "the concerto you [Wolfgang] wrote for Kolb". This refers to Salzburg violinist Franz Xaver Kolb, who is recorded to have performed said concerto to great success in September 1777 and July 1778. The identity of the concerto that Kolb performed has been speculated by scholars, as there are no specific details regarding the work on which musicologists can build upon. It was proposed by Carl Bär in 1963 that the spurious violin concerto, K. 271a was the mentioned work performed by Kolb, and has ergo been given the nickname the Kolb Concerto. The authenticity of the work has been doubted and dismissed by several Mozart experts, and was excluded in the first edition of the Köchel catalogue. Daniel E. Freeman has recently brought to light new evidence that supports the dating of April 1773, when Mozart had just returned to Salzburg from Italy, where he maintained close contacts with his close friend Josef Mysliveček, one of the most prominent composers of violin concertos in Italy at the time. The most striking connection between the first concerto of Mozart and the work of Mysliveček is the opening theme of Mozart's first movement, which appears to be quoted directly from Mysliveček’s Violin Concerto No. 1 in D major, a work that was certainly written earlier, since it appears for sale in the Breitkopf catalog of 1769. The absence of a rondo finale in the original version of Mozart’s concerto is consistent with preferences throughout Europe in the early 1770s (by the time Mozart’s later concertos were written, rondo finales had started to become common). The formal scheme of the fast movements conforms precisely to a distinctive formal scheme that is standard in all of Mysliveček’s violin concertos. Passages for the soloist accompanied only by two violins in this Mozart concerto was a trait of Mysliveček’s violin concertos likely picked up from his contact with Giuseppe Tartini in Padua in the late 1760s. The movements are: The concerto is full of intricate passage work with running sixteenth notes and characterized generally by high spirits. Its simpler, less developed style in comparison to Mozart's Violin Concertos Nos. 2-5 serves as another likely confirmation of its earlier composition. The composer's abilities had advanced markedly between 1773 and 1775. Multi-work recordings of Mozart's violin concertos often omit his first violin concerto, since it reveals a musical inspiration less compelling than in the others. The Rondo in B♭, K. 269, for violin and orchestra, also is connected to this concerto. It was intended to replace the finale movement and was composed to fulfil the recommendation of Antonio Brunetti, a violinist in Salzburg at the time. It was obviously composed to "modernise" the concerto in light of the new trend for rondo finales in solo concertos during the mid-1770s. Nonetheless, typically the concerto is performed with the original finale and the K. 269 Rondo remains a separate concert piece.

This is a list of musical compositions for violin and orchestra. See entries for concerto and violin concerto for a description of related musical forms.

This is a non exhaustive compilation of pieces for solo violin. See also the entries on violin and the List of compositions for violin and orchestra and list of compositions for violin and piano. Ordering is by surname of composer.

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.

This is a list of musical compositions for cello and orchestra ordered by their authors' surnames.

A violin sonata is a musical composition for violin, which is nearly always accompanied by a piano or other keyboard instrument, or by figured bass in the Baroque period.

This is a list of musical compositions for violin and orchestra. See entries for concerto and violin concerto for a description of related musical forms.

This is a non exhaustive compilation of pieces for solo violin. See also the entries on violin and the List of compositions for violin and orchestra and list of compositions for violin and piano. Ordering is by surname of composer.

This is a list of musical compositions for violin and orchestra. See entries for concerto and violin concerto for a description of related musical forms.

The Concerto for Two Violins in D minor, BWV 1043, also known as the Double Violin Concerto, is a violin concerto of the Late Baroque era, which Johann Sebastian Bach composed around 1730. It is one of the composer's most successful works.

The Concerto for Two Violins in D minor, BWV 1043, also known as the Double Violin Concerto, is a violin concerto of the Late Baroque era, which Johann Sebastian Bach composed around 1730. It is one of the composer's most successful works.

The Concerto for Two Violins in D minor, BWV 1043, also known as the Double Violin Concerto, is a violin concerto of the Late Baroque era, which Johann Sebastian Bach composed around 1730. It is one of the composer's most successful works.

The Concerto for Two Violins in D minor, BWV 1043, also known as the Double Violin Concerto, is a violin concerto of the Late Baroque era, which Johann Sebastian Bach composed around 1730. It is one of the composer's most successful works.

The Concerto for Two Violins in D minor, BWV 1043, also known as the Double Violin Concerto, is a violin concerto of the Late Baroque era, which Johann Sebastian Bach composed around 1730. It is one of the composer's most successful works.

The Concerto for Two Violins in D minor, BWV 1043, also known as the Double Violin Concerto, is a violin concerto of the Late Baroque era, which Johann Sebastian Bach composed around 1730. It is one of the composer's most successful works.

The Concerto for Two Violins in D minor, BWV 1043, also known as the Double Violin Concerto, is a violin concerto of the Late Baroque era, which Johann Sebastian Bach composed around 1730. It is one of the composer's most successful works.

The Concerto for Two Violins in D minor, BWV 1043, also known as the Double Violin Concerto, is a violin concerto of the Late Baroque era, which Johann Sebastian Bach composed around 1730. It is one of the composer's most successful works.

The Concerto for Two Violins in D minor, BWV 1043, also known as the Double Violin Concerto, is a violin concerto of the Late Baroque era, which Johann Sebastian Bach composed around 1730. It is one of the composer's most successful works.

The Concerto for Two Violins in D minor, BWV 1043, also known as the Double Violin Concerto, is a violin concerto of the Late Baroque era, which Johann Sebastian Bach composed around 1730. It is one of the composer's most successful works.

The Concerto for Two Violins in D minor, BWV 1043, also known as the Double Violin Concerto, is a violin concerto of the Late Baroque era, which Johann Sebastian Bach composed around 1730. It is one of the composer's most successful works.

The Concerto for Two Violins in D minor, BWV 1043, also known as the Double Violin Concerto, is a violin concerto of the Late Baroque era, which Johann Sebastian Bach composed around 1730. It is one of the composer's most successful works.

The Concerto for Two Violins in D minor, BWV 1043, also known as the Double Violin Concerto, is a violin concerto of the Late Baroque era, which Johann Sebastian Bach composed around 1730. It is one of the composer's most successful works.

The Concerto for Two Violins in D minor, BWV 1043, also known as the Double Violin Concerto, is a violin concerto of the Late Baroque era, which Johann Sebastian Bach composed around 1730. It is one of the composer's most successful works.

Below is a list of compositions by Fritz Kreisler sorted by genre.

The Concerto for Two Violins in D minor, BWV 1043, also known as the Double Violin Concerto, is a violin concerto of the Late Baroque era, which Johann Sebastian Bach composed around 1730. It is one of the composer's most successful works.

The Concerto for Two Violins in D minor, BWV 1043, also known as the Double Violin Concerto, is a violin concerto of the Late Baroque era, which Johann Sebastian Bach composed around 1730. It is one of the composer's most successful works.

The Concerto for Two Violins in D minor, BWV 1043, also known as the Double Violin Concerto, is a violin concerto of the Late Baroque era, which Johann Sebastian Bach composed around 1730. It is one of the composer's most successful works.

The Concerto for Two Violins in D minor, BWV 1043, also known as the Double Violin Concerto, is a violin concerto of the Late Baroque era, which Johann Sebastian Bach composed around 1730. It is one of the composer's most successful works.

The Concerto for Two Violins in D minor, BWV 1043, also known as the Double Violin Concerto, is a violin concerto of the Late Baroque era, which Johann Sebastian Bach composed around 1730. It is one of the composer's most successful works.

The Concerto for Two Violins in D minor, BWV 1043, also known as the Double Violin Concerto, is a violin concerto of the Late Baroque era, which Johann Sebastian Bach composed around 1730. It is one of the composer's most successful works.

The Concerto for Two Violins in D minor, BWV 1043, also known as the Double Violin Concerto, is a violin concerto of the Late Baroque era, which Johann Sebastian Bach composed around 1730. It is one of the composer's most successful works.

The Concerto for Two Violins in D minor, BWV 1043, also known as the Double Violin Concerto, is a violin concerto of the Late Baroque era, which Johann Sebastian Bach composed around 1730. It is one of the composer's most successful works.

The Concerto for Two Violins in D minor, BWV 1043, also known as the Double Violin Concerto, is a violin concerto of the Late Baroque era, which Johann Sebastian Bach composed around 1730. It is one of the composer's most successful works.

The Concerto for Two Violins in D minor, BWV 1043, also known as the Double Violin Concerto, is a violin concerto of the Late Baroque era, which Johann Sebastian Bach composed around 1730. It is one of the composer's most successful works.

The Concerto for Two Violins in D minor, BWV 1043, also known as the Double Violin Concerto, is a violin concerto of the Late Baroque era, which Johann Sebastian Bach composed around 1730. It is one of the composer's most successful works.

The Concerto for Two Violins in D minor, BWV 1043, also known as the Double Violin Concerto, is a violin concerto of the Late Baroque era, which Johann Sebastian Bach composed around 1730. It is one of the composer's most successful works.

The Concerto for Two Violins in D minor, BWV 1043, also known as the Double Violin Concerto, is a violin concerto of the Late Baroque era, which Johann Sebastian Bach composed around 1730. It is one of the composer's most successful works.

The Concerto for Two Violins in D minor, BWV 1043, also known as the Double Violin Concerto, is a violin concerto of the Late Baroque era, which Johann Sebastian Bach composed around 1730. It is one of the composer's most successful works.

Niccolò (or Nicolò) Paganini (; Italian: [ni(k)koˈlɔ ppaɡaˈniːni] ; 27 October 1782 – 27 May 1840) was an Italian violinist and composer. He was the most celebrated violin virtuoso of his time, and left his mark as one of the pillars of modern violin technique. His 24 Caprices for Solo Violin Op. 1 are among the best known of his compositions and have served as an inspiration for many prominent composers. Son of a ship chandler from Genoa, Paganini showed great gifts for music from an early age and studied under Alessandro Rolla, Ferdinando Paer and Gasparo Ghiretti. Accompanied by his father, he toured northern Italy extensively as a teenager. By 1805 he had come into the service of Napoleon's sister, Elisa Bonaparte, who then ruled Lucca where Paganini was first violin. From 1809 on he returned to touring and achieved continental fame in the subsequent two and a half decades, developing a reputation for his technical brilliance and showmanship, as well as his extravagant, philandering lifestyle. Paganini ended his concert career in 1834 amid declining health, and the failure of his Paris casino left him in financial ruin. He retired to southern France and died in Nice in 1840 at the age of 57.

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.

Below is a list of compositions by Fritz Kreisler sorted by genre.

The Concerto for Two Violins in D minor, BWV 1043, also known as the Double Violin Concerto, is a violin concerto of the Late Baroque era, which Johann Sebastian Bach composed around 1730. It is one of the composer's most successful works.

Niccolò (or Nicolò) Paganini (; Italian: [ni(k)koˈlɔ ppaɡaˈniːni] ; 27 October 1782 – 27 May 1840) was an Italian violinist and composer. He was the most celebrated violin virtuoso of his time, and left his mark as one of the pillars of modern violin technique. His 24 Caprices for Solo Violin Op. 1 are among the best known of his compositions and have served as an inspiration for many prominent composers. Son of a ship chandler from Genoa, Paganini showed great gifts for music from an early age and studied under Alessandro Rolla, Ferdinando Paer and Gasparo Ghiretti. Accompanied by his father, he toured northern Italy extensively as a teenager. By 1805 he had come into the service of Napoleon's sister, Elisa Bonaparte, who then ruled Lucca where Paganini was first violin. From 1809 on he returned to touring and achieved continental fame in the subsequent two and a half decades, developing a reputation for his technical brilliance and showmanship, as well as his extravagant, philandering lifestyle. Paganini ended his concert career in 1834 amid declining health, and the failure of his Paris casino left him in financial ruin. He retired to southern France and died in Nice in 1840 at the age of 57.

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.

Below is a list of compositions by Fritz Kreisler sorted by genre.

The Concerto for Two Violins in D minor, BWV 1043, also known as the Double Violin Concerto, is a violin concerto of the Late Baroque era, which Johann Sebastian Bach composed around 1730. It is one of the composer's most successful works.

The Concerto for Two Violins in D minor, BWV 1043, also known as the Double Violin Concerto, is a violin concerto of the Late Baroque era, which Johann Sebastian Bach composed around 1730. It is one of the composer's most successful works.

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.

Below is a list of compositions by Fritz Kreisler sorted by genre.

Below is a list of compositions by Fritz Kreisler sorted by genre.

The Concerto for Two Violins in D minor, BWV 1043, also known as the Double Violin Concerto, is a violin concerto of the Late Baroque era, which Johann Sebastian Bach composed around 1730. It is one of the composer's most successful works.

This is a list of musical compositions for violin and orchestra. See entries for concerto and violin concerto for a description of related musical forms.

Below is a list of compositions by Fritz Kreisler sorted by genre.

Wolfgang Amadeus Mozart's Violin Concerto No. 1 in B♭ major, K. 207, once was supposed to have been composed in 1775 (when Mozart was 19), along with his other four violin concertos. However, analysis of handwriting and the manuscript paper on which the concerto was written suggest that the date of composition might have been 1773, specifically with a completion date of April 1773. If this date is correct, the concerto is likely to be Mozart's first original concerto. It exhibits the usual fast–slow–fast structure that was predominant for solo concertos of the late eighteenth century. The musicologist Wolfgang Plath, after critically analysing the autograph score of all five of Mozart's violin concertos, discovered that the last two digits of the date on each had been tampered with. According to Plath, all dates were altered to read 1780 at some point, and subsequently changed back to 1775 later. Using evidence displayed in the handwriting and watermarks, Plath argued that the latter date was most likely correct for the last four concertos, but he refuted the claim of K. 207 being written in the same year; he proposed that the work, instead, originally bore a date of 1773. The reason for the composition of the violin concertos is generally uncertain, although it is evident that the composer performed them in public on several occasions. Contrary to the erroneous statement that implies otherwise, they could not have been written for Antonio Brunetti, the concertmaster of the Salzburg court orchestra, due to the fact that (as observed by Zaslaw) the violinist only assumed the post in 1776. Zaslaw also addresses the Kolb issue. This is in reference to a violin concerto mentioned by Wolfgang's father, Leopold, in a letter from August 1778, reading: "the concerto you [Wolfgang] wrote for Kolb". This refers to Salzburg violinist Franz Xaver Kolb, who is recorded to have performed said concerto to great success in September 1777 and July 1778. The identity of the concerto that Kolb performed has been speculated by scholars, as there are no specific details regarding the work on which musicologists can build upon. It was proposed by Carl Bär in 1963 that the spurious violin concerto, K. 271a was the mentioned work performed by Kolb, and has ergo been given the nickname the Kolb Concerto. The authenticity of the work has been doubted and dismissed by several Mozart experts, and was excluded in the first edition of the Köchel catalogue. Daniel E. Freeman has recently brought to light new evidence that supports the dating of April 1773, when Mozart had just returned to Salzburg from Italy, where he maintained close contacts with his close friend Josef Mysliveček, one of the most prominent composers of violin concertos in Italy at the time. The most striking connection between the first concerto of Mozart and the work of Mysliveček is the opening theme of Mozart's first movement, which appears to be quoted directly from Mysliveček’s Violin Concerto No. 1 in D major, a work that was certainly written earlier, since it appears for sale in the Breitkopf catalog of 1769. The absence of a rondo finale in the original version of Mozart’s concerto is consistent with preferences throughout Europe in the early 1770s (by the time Mozart’s later concertos were written, rondo finales had started to become common). The formal scheme of the fast movements conforms precisely to a distinctive formal scheme that is standard in all of Mysliveček’s violin concertos. Passages for the soloist accompanied only by two violins in this Mozart concerto was a trait of Mysliveček’s violin concertos likely picked up from his contact with Giuseppe Tartini in Padua in the late 1760s. The movements are: The concerto is full of intricate passage work with running sixteenth notes and characterized generally by high spirits. Its simpler, less developed style in comparison to Mozart's Violin Concertos Nos. 2-5 serves as another likely confirmation of its earlier composition. The composer's abilities had advanced markedly between 1773 and 1775. Multi-work recordings of Mozart's violin concertos often omit his first violin concerto, since it reveals a musical inspiration less compelling than in the others. The Rondo in B♭, K. 269, for violin and orchestra, also is connected to this concerto. It was intended to replace the finale movement and was composed to fulfil the recommendation of Antonio Brunetti, a violinist in Salzburg at the time. It was obviously composed to "modernise" the concerto in light of the new trend for rondo finales in solo concertos during the mid-1770s. Nonetheless, typically the concerto is performed with the original finale and the K. 269 Rondo remains a separate concert piece.

Below is a list of compositions by Fritz Kreisler sorted by genre.

Below is a list of compositions by Fritz Kreisler sorted by genre.

Below is a list of compositions by Fritz Kreisler sorted by genre.

The Concerto for Two Violins in D minor, BWV 1043, also known as the Double Violin Concerto, is a violin concerto of the Late Baroque era, which Johann Sebastian Bach composed around 1730. It is one of the composer's most successful works.

The Concerto for Two Violins in D minor, BWV 1043, also known as the Double Violin Concerto, is a violin concerto of the Late Baroque era, which Johann Sebastian Bach composed around 1730. It is one of the composer's most successful works.

Niccolò (or Nicolò) Paganini (; Italian: [ni(k)koˈlɔ ppaɡaˈniːni] ; 27 October 1782 – 27 May 1840) was an Italian violinist and composer. He was the most celebrated violin virtuoso of his time, and left his mark as one of the pillars of modern violin technique. His 24 Caprices for Solo Violin Op. 1 are among the best known of his compositions and have served as an inspiration for many prominent composers. Son of a ship chandler from Genoa, Paganini showed great gifts for music from an early age and studied under Alessandro Rolla, Ferdinando Paer and Gasparo Ghiretti. Accompanied by his father, he toured northern Italy extensively as a teenager. By 1805 he had come into the service of Napoleon's sister, Elisa Bonaparte, who then ruled Lucca where Paganini was first violin. From 1809 on he returned to touring and achieved continental fame in the subsequent two and a half decades, developing a reputation for his technical brilliance and showmanship, as well as his extravagant, philandering lifestyle. Paganini ended his concert career in 1834 amid declining health, and the failure of his Paris casino left him in financial ruin. He retired to southern France and died in Nice in 1840 at the age of 57.

This is a non exhaustive compilation of pieces for solo violin. See also the entries on violin and the List of compositions for violin and orchestra and list of compositions for violin and piano. Ordering is by surname of composer.

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 Concerto for Two Violins in D minor, BWV 1043, also known as the Double Violin Concerto, is a violin concerto of the Late Baroque era, which Johann Sebastian Bach composed around 1730. It is one of the composer's most successful works.

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.

The Concerto for Two Violins in D minor, BWV 1043, also known as the Double Violin Concerto, is a violin concerto of the Late Baroque era, which Johann Sebastian Bach composed around 1730. It is one of the composer's most successful works.

Below is a list of compositions by Fritz Kreisler sorted by genre.

The Concerto for Two Violins in D minor, BWV 1043, also known as the Double Violin Concerto, is a violin concerto of the Late Baroque era, which Johann Sebastian Bach composed around 1730. It is one of the composer's most successful works.

This is a list of musical compositions for violin and orchestra. See entries for concerto and violin concerto for a description of related musical forms.

This is a list of musical compositions for violin and orchestra. See entries for concerto and violin concerto for a description of related musical forms.

Niccolò (or Nicolò) Paganini (; Italian: [ni(k)koˈlɔ ppaɡaˈniːni] ; 27 October 1782 – 27 May 1840) was an Italian violinist and composer. He was the most celebrated violin virtuoso of his time, and left his mark as one of the pillars of modern violin technique. His 24 Caprices for Solo Violin Op. 1 are among the best known of his compositions and have served as an inspiration for many prominent composers. Son of a ship chandler from Genoa, Paganini showed great gifts for music from an early age and studied under Alessandro Rolla, Ferdinando Paer and Gasparo Ghiretti. Accompanied by his father, he toured northern Italy extensively as a teenager. By 1805 he had come into the service of Napoleon's sister, Elisa Bonaparte, who then ruled Lucca where Paganini was first violin. From 1809 on he returned to touring and achieved continental fame in the subsequent two and a half decades, developing a reputation for his technical brilliance and showmanship, as well as his extravagant, philandering lifestyle. Paganini ended his concert career in 1834 amid declining health, and the failure of his Paris casino left him in financial ruin. He retired to southern France and died in Nice in 1840 at the age of 57.

The Concerto for Two Violins in D minor, BWV 1043, also known as the Double Violin Concerto, is a violin concerto of the Late Baroque era, which Johann Sebastian Bach composed around 1730. It is one of the composer's most successful works.

The Concerto for Two Violins in D minor, BWV 1043, also known as the Double Violin Concerto, is a violin concerto of the Late Baroque era, which Johann Sebastian Bach composed around 1730. It is one of the composer's most successful works.

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 Concerto for Two Violins in D minor, BWV 1043, also known as the Double Violin Concerto, is a violin concerto of the Late Baroque era, which Johann Sebastian Bach composed around 1730. It is one of the composer's most successful works.

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.

Below is a list of compositions by Fritz Kreisler sorted by genre.

The Concerto for Two Violins in D minor, BWV 1043, also known as the Double Violin Concerto, is a violin concerto of the Late Baroque era, which Johann Sebastian Bach composed around 1730. It is one of the composer's most successful works.

The Concerto for Two Violins in D minor, BWV 1043, also known as the Double Violin Concerto, is a violin concerto of the Late Baroque era, which Johann Sebastian Bach composed around 1730. It is one of the composer's most successful works.

This is a list of musical compositions for cello and orchestra ordered by their authors' surnames.

This is a list of musical compositions for violin and orchestra. See entries for concerto and violin concerto for a description of related musical forms.

Below is a list of compositions by Fritz Kreisler sorted by genre.

The Concerto for Two Violins in D minor, BWV 1043, also known as the Double Violin Concerto, is a violin concerto of the Late Baroque era, which Johann Sebastian Bach composed around 1730. It is one of the composer's most successful works.

Below is a list of compositions by Fritz Kreisler sorted by genre.

This is a list of musical compositions for violin and orchestra. See entries for concerto and violin concerto for a description of related musical forms.

This is a list of musical compositions for violin and orchestra. See entries for concerto and violin concerto for a description of related musical forms.

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.

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.

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 musical compositions for violin and orchestra. See entries for concerto and violin concerto for a description of related musical forms.

This is a list of musical compositions for violin and orchestra. See entries for concerto and violin concerto for a description of related musical forms.