a large-scale orchestral work featuring a solo instrument contrasted with an orchestral ensemble Its typical form consists of three movements that are usually fast-slow-fast
A concerto is an instrumental work that alternates between an orchestra and a smaller group of instruments, or a solo instrument This musical form showed virtuosity, especially in the cadenza section, in which the solo instrument ornaments the final cadence
A composition (usually in symphonic form with three movements) in which one instrument (or two or three) stands out in bold relief against the orchestra, or accompaniment, so as to display its qualities or the performer's skill
(Italian): A piece of music where one player (the "soloist") sits or stands at the front of the stage, playing the melody, while the rest of the orchestra accompanies her
A concerto is a music that there is a soloiest, who can play any kinds of music, such as cello, voice, piano, or basketball oh well u dont' usually c a basketball player on a stage in a music hall So the orchestra is to accmpany the soloieest, and of course the soloiest is the focus of the music and audience ShowMeSome: Taikovsky Violin Concerto
A concerto is a piece of music written for one or more solo instruments and an orchestra. Tchaikovsky's First Piano Concerto. a wonderful concerto for two violins and string orchestra. concertos a piece of classical music, usually for one instrument and an orchestra. Musical composition for solo instrument and orchestra. The solo concerto grew out of the older concerto grosso. Giuseppe Torelli's violin concertos of 1698 are the first known solo concertos. Antonio Vivaldi, the first important concerto composer, wrote more than 350 solo concertos, mostly for violin. Johann Sebastian Bach wrote the first keyboard concertos. From the Classical period on, most concertos have been written for piano, followed in popularity by the violin and then the cello. Wofgang Amadeus Mozart wrote 27 piano concertos; other notable composers of piano concertos include Ludwig van Beethoven, Felix Mendelssohn, Frédéric Chopin, Franz Liszt, and Johannes Brahms. From the outset the concerto has been almost exclusively a three-movement form, with fast tempos in the first and third movements and a slow central movement. It has generally been intended to display the soloist's virtuosity, particularly in the unaccompanied and often improvised cadenzas near the ends of the first and third movements. Nineteenth-century concertos were often conceived as a kind of dramatic struggle between soloist and orchestra; many later composers preferred that the soloist blend with the orchestra