CONCERTO, kon-chieto, a lcind of com position first introduced by the Italian musi cans of the 17th century, really a symphony with a solo instrument. The principal com posers and artists in this department are Corea, Viotti, Rodes, Baillot, Kreutzer, Alard, Beriot and Vieuxtemps. Subsequently concerti were written for other instruments, such as the flute, the piano, etc. Among the most successful composers for the piano are Bach, Mozart, Hummel, Chopin, Schumann, Ries, Czerny and Thalberg. Concerti are written in the so-called sonata or symphony form in three movements, an allegro, an andante, or adagio and a lively rondo. Except in the tutti the orchestra should be as subservient to the instrument for which the piece is written as it should to a vocalist. It is found for any instrument capable of technical or heroic treatment. Between the soli there are orchestral interludes—ritornelli, Which most often treat die thematic tnaterial more fully. The Concerto da Camera, or
Chamber concerto was popular before the days of full symphony orchestras, a string quartet and cembalo being sufficient to accompany the solo instrument. Concerto da chiesa or church concerto was more loosely applied, meaning often a work for voices and organ.
Concerto grosso is an expression applied to the great or grand chorus of the concert, or to those places of the concert in which the ripienos and every auxiliary instrument are brought into action, for the salce of contrast and to increase the effect. All the 18th century concerti for two or more solo instruments are concerti grossi..
Concerto spsrituale was a concert at Paris, performed in the religious seasons, when the theatres were closed. The pieces performed, however, were not always of a spiritual lcind. It was introduced in 1725 by Anne Danican, called Philidor.