When it comes to individual displays of virtuosity, concertos can't be beat.
Usually configured with a full orchestra and one soloist, concertos give musicians an opportunity to dazzle with their mastery of their instrument. But they also present a compositional challenge, to weave the soloist and the greater orchestra together in complex patterns and overwhelming beauty.
All sorts of instruments have been the beneficiaries of concertos. From the absolutely indispensable showpieces for piano and violin, to the timpani, saxophone... and even water!
Standard Rep
We may hear these pieces a lot, but we should not forget how much these beloved showpieces ask of their soloists — and the orchestras backing them up.
Sergei Prokofiev: Piano Concerto No. 2
In a sea of demanding piano repertoire, Prokofiev 2 is among the most devilishly difficult. The first movement’s iconic cadenza alone is enough to give some pianists fits. In fact, there are more than a few keyboard luminaries (most famously, the legendary Martha Argerich) who outright refuse to perform the formidable work live.
Robert Schumann: Cello Concerto
Consigned to obscurity during the composer’s lifetime, we have Pablo Casals to thank for this work’s status as an indispensable cello concerto. The work was written to be performed as a continuous movement, further heightening the demand on the orchestra and cellist in a musical journey that culminates in an extended cadenza.
Jean Sibelius: Violin Concerto
Another instrument with a wealth of concerto options, the Sibelius Violin Concerto is intense and icy, perhaps befitting the Finnish composer’s place of origin. The finale, in particular, is relentless, making it a thrilling challenge for any violinist and captivating listening for any audience.
Orchestra Breakouts
The piano, violin, and cello often get most of the shine, but what about the other orchestral instruments? Here are some high-flying concertos for orchestra instruments that don’t always get their due.
Mario Castelnuovo-Tedesco: Guitar Concerto No. 1
Italian composer Mario Castelnuovo-Tedesco was especially renowned for his works for guitar. This first concerto — somehow both virtuosic and understated — paints an immersive, transportive picture. Conceived for virtuoso Andrés Segovia, the folk-inspired concerto masterfully balances the assertive orchestra and the light but emphatic touch of the guitarist.
Peter Maxwell Davies: Strathclyde Concerto No. 7 for Double Bass
Double bass concertos are too-seldom performed. Named for and commissioned by Scotland’s Strathclyde Regional Council, Davies's 10-part series covers compositions from 1986 to 1996, featuring concertos for oboe, horn, cello, clarinet, and flute, among others. This 1992 two-movement concerto in particular, is a taut, inventive showcase of the instrument’s capacity for lyricism and virtuosity.
Jean Françaix: Clarinet Concerto
Mozart’s clarinet concerto is a staple for a reason, but let’s examine another important work for the instrument. Jean Françaix’s cinematic 1967 piece “perfectly evokes what can be dubbed ‘the spirit of Paris.’” The good-humored third movement starts with an enchanting cadenza from the soloist that draws the listener in.
Alberto Ginastera: Harp Concerto
Forget everything you think you know about the harp. Argentine composer Alberto Ginastera taps into Latin American folk traditions with this breakneck piece, which has taken on “an almost cult status as the definitive harp concerto of the 20th century.”
Jacques Ibert: Flute Concerto
French composer Jacques Ibert’s playful entry into the concerto canon clocks in at about 20 minutes. But audiences more than get their money’s worth. The work’s fast-paced final movement is a masterclass in agility and expression.
Alfred Schnittke: Choir Concerto
Tapping into 10th century Armenian sacred poetry, Schnittke’s lush and intricate 45-minute piece requires supreme artistic discipline and endurance on the part of its exquisitely layered choral section.
Richard Strauss: Horn Concerto No. 1
A devilishly difficult piece with a family connection. Strauss’s Horn Concerto No. 1 is a powerful work that explores the full range of the horn, juxtaposing the high and low limits of the instrument’s register. The concerto has a dramatic quality and offers the horn player moments of lyrical beauty as well as technical fireworks. Strauss wrote the piece for his father, Franz, a horn player; after spending time practicing it, Franz deemed the piece too difficult and ceded the piece to another soloist.
Ralph Vaughan Williams: Concerto for Oboe and Strings in A Minor
One of the lithe double reed instrument’s cornerstone pieces, Ralph Vaughan Williams helped resurrect the oboe concerto with this 1944 entry. The English composer created a hymnlike and pastoral work whose nearly continuous oboe part demands deceptive poise.
Uncommon Instruments and Combinations
And then there’s these works. Some of them explore new combinations of instruments, while other delve deep into a sound that we don’t often hear with the orchestra.
Alexander Glazunov: Saxophone Concerto
One of the most famous works for saxophone, this fluid concerto by Russian composer Alexander Glazunov is a showpiece for a reason. The lyrical second movement is particularly beloved for its emotional depth, while the finale offers fast-paced, virtuosic flashes. Full of “surprising twists and turns,” the concerto is a triumphant late-career work from Glazunov.
Johann Nepomuk Hummel: Mandolin Concerto
Austrian classical-era composer Johann Nepomuk Hummel was a transitional figure in classical music. A pupil of Mozart, Salieri, and Haydn, he helped carve a path for the Romantic era, going on to influence Chopin and Liszt. This concerto’s highly refined sound calls for near-constant involvement on the part of the instrumentalist.
Nikolai Kapustin: Concerto for Two Pianos and Percussion
Soviet composer Nikolai Kapustin merged classical and jazz idioms, including in this rhythmically varied 20-minute concerto which jumps moods, time signatures, and influences. Built around a drum set and a combination of xylophone, vibraphone, and glockenspiel, the energetic piece surges forward, capturing the listener’s attention and never ceding until the sudden ending.
Astor Piazzolla: Aconcagua Concerto for Bandoneón and Orchestra
Astor Piazzolla’s tango-infused Aconcagua Concerto showcases the bandoneón, an Argentine accordion-like instrument. The composer was a master of the instrument, and this late-career work combines virtuosity with the distinct rhythm and flavor of the tango, making it a stunning and unconventional concerto. The work’s subtitle, Aconcagua, after the highest peak in South America, was coined by the publisher, which considered the work Piazzolla’s creative apex.
Francis Poulenc: Concerto for Organ, Strings, and Timpani
The ever-witty French composer Francis Poulenc devised a completely unique combination of soloists for this grand and heartfelt seven-movement homage to Bach that manages to infuse 20th century sounds as well as Poulenc’s unique compositional voice.
Tan Dun: Water Concerto
The rare classical work that features volume measurements (!). Tan Dun’s eclectic and expressive catalog encompasses film (most notably, his immersive score for Crouching Tiger, Hidden Dragon) and orchestra. This percussion concerto uses water as its medium. Not only does the soloist strike the H2O-filled vessels, but they adjust the water level and pour in and out to adjust the sound and timbre.
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