What concertos or pieces for solo instrument and orchestra have the soloist enter briefly for a few measures towards or at the very beginning which is followed by normal orchestral introduction? Naturally, the soloist enters again where it traditionally should.
Steltz should get one particular piece that I have in mind.
Alla Headscratcher
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Re: Alla Headscratcher
Two Beethoven piano concertos come to mind immediately:
The fourth has a contemplative introduction by the piano before the orchestra takes that thought and uses it to develop the main theme.
The fifth, after an orchestral chord, has the piano doing a mini cadenza punctuated by more orchestral chords. This segues into the main theme on the violins.
After the soloist finishes, both have the orchestra go into a normal concerto exposition.
The fourth has a contemplative introduction by the piano before the orchestra takes that thought and uses it to develop the main theme.
The fifth, after an orchestral chord, has the piano doing a mini cadenza punctuated by more orchestral chords. This segues into the main theme on the violins.
After the soloist finishes, both have the orchestra go into a normal concerto exposition.
~John
Re: Alla Headscratcher
First, I think you are specifically talking about concertos that use the standard Sonata-Allegro form for the first movement? i.e. Classical or early Romantic?
Are you thinking of Spohr's Concerto no.1? The orchestra has a small introduction of 14 bars, which is an Adagio version of the main theme, then the Allegro section has the main theme playing for only 8 bars before the clarinet repeats it.
[Edit] The Spohr doesn't drop out again, only to come in later. Perhaps you're talking about Crusell's op.11 in Bb?
Are you thinking of Spohr's Concerto no.1? The orchestra has a small introduction of 14 bars, which is an Adagio version of the main theme, then the Allegro section has the main theme playing for only 8 bars before the clarinet repeats it.
[Edit] The Spohr doesn't drop out again, only to come in later. Perhaps you're talking about Crusell's op.11 in Bb?
bsteltz
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Re: Alla Headscratcher
In Spohr 1, the clarinet does not play at or near the very beginning. It pretty much has a normal orchestral introduction other than having an Adagio part.
I was actually thinking of Spohr's Concerto No. 2 in E-flat.
I had three that came to my mind when I come up with this question; Beethoven Piano Concertos Nos. 4 and 5 and Spohr Clarinet Concerto No. 2. Please feel free to add more.
I was actually thinking of Spohr's Concerto No. 2 in E-flat.
I had three that came to my mind when I come up with this question; Beethoven Piano Concertos Nos. 4 and 5 and Spohr Clarinet Concerto No. 2. Please feel free to add more.
Last edited by allegroamabile on Sat Dec 19, 2009 12:44 pm, edited 1 time in total.
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Re: Alla Headscratcher
That's one I didn't think about.steltz wrote:Perhaps you're talking about Crusell's op.11 in Bb?
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Re: Alla Headscratcher
Mozart Pf. Con. 9 fits your requirements perfectly.
--Sixtus
http://imslp.org/wiki/Piano_Concerto_No ... Amadeus%29
--Sixtus
http://imslp.org/wiki/Piano_Concerto_No ... Amadeus%29
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Re: Alla Headscratcher
One of the concertos for piccolo by Vivaldi (in C major, I believe) has the soloist play by him/herself near the end of the opening and closing ritornelli.
"A libretto, a libretto, my kingdom for a libretto!" -- Cesar Cui (letter to Stasov, Feb. 20, 1877)
Re: Alla Headscratcher
Baroque concerti don't fit the mold that the OP is asking for. You need to get to about 1740 before they start to.
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Re: Alla Headscratcher
Elgar Cello and Brahms Double sort of fit this.
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