Violin concerto in the context of "Antonio Vivaldi"

A concerto (/kənˈtʃɛərtoʊ/; 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 Giuseppe Torelli and Arcangelo Corelli 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.

The Violin Concerto in D major, Op. 35 was the only concerto for violin composed by Pyotr Ilyich Tchaikovsky. Composed in 1878, it is one of the best-known violin concertos.

The concerto was composed in Clarens, Switzerland, where Tchaikovsky was recovering from the fallout of his ill-fated marriage. The concerto was influenced by Édouard Lalo's Symphonie espagnole and was composed with the help of Tchaikovsky's pupil and probable former lover, Iosif Kotek. Despite Tchaikovsky's original intention to dedicate the work to Kotek, he instead dedicated it to Leopold Auer due to societal pressures. Auer, however, refused to perform it, and the premiere was given by Adolph Brodsky in 1881 to mixed reviews. The piece, which Tchaikovsky later rededicated to Brodsky, has since become a staple of the violin repertoire. The concerto has three movements, is scored for solo violin and orchestra, and typically runs for about 35 minutes.

Wolfgang Amadeus Mozart (1756–1791) was a prolific and influential composer of the Classical period who wrote in many genres. Perhaps his best-admired works can be found within the categories of operas, piano concertos, piano sonatas, symphonies, string quartets, and string quintets. Mozart also wrote many violin sonatas; other forms of chamber music; violin concertos, and other concertos for one or more solo instruments; masses, and other religious music; organ music; masonic music; and numerous dances, marches, divertimenti, serenades, and other forms of light entertainment.

Sergei Sergeyevich Prokofiev (27 April [O.S. 15 April] 1891 – 5 March 1953) was a Russian composer, pianist, and conductor who later worked in the Soviet Union. As the creator of acknowledged masterpieces across numerous music genres, he is regarded as one of the major composers of the 20th century. His works include such widely heard pieces as the March from The Love for Three Oranges, the suite Lieutenant Kijé, the ballet Romeo and Juliet—from which "Dance of the Knights" is taken—and Peter and the Wolf. Of the established forms and genres in which he worked, he created—excluding juvenilia—seven completed operas, seven symphonies, eight ballets, five piano concertos, two violin concertos, a cello concerto, a symphony-concerto for cello and orchestra, and nine completed piano sonatas.

A graduate of the Saint Petersburg Conservatory, Prokofiev initially made his name as an iconoclastic composer-pianist, achieving notoriety with a series of ferociously dissonant and virtuosic works for his instrument, including his first two piano concertos. In 1915, Prokofiev made a decisive break from the standard composer-pianist category with his orchestral Scythian Suite, compiled from music originally composed for a ballet commissioned by Sergei Diaghilev of the Ballets Russes. Diaghilev commissioned three further ballets from Prokofiev—Chout, Le pas d'acier and The Prodigal Son—which, at the time of their original production, all caused a sensation among both critics and colleagues. But Prokofiev's greatest interest was opera, and he composed several works in that genre, including The Gambler and The Fiery Angel. Prokofiev's one operatic success during his lifetime was The Love for Three Oranges, composed for the Chicago Opera and performed over the following decade in Europe and Russia.

The Violin Concerto in D minor, Op. 8, is a concertante work written from 1881 to 1882 by the German composer Richard Strauss.

This violin concerto was written during the composer's teenage years while he was still attending his last two years of school, and is less distinctive than many of his later orchestral works. Despite this it contains some bold and inventive solo writing as well as occasional passages that hint at the composer's mature harmonic style. Though written in the romantic tradition of its time, it hints at the young composer's reverence of masters of the preceding classical period, especially Mozart and Beethoven. In 1880 he had first begun to turn to large scale compositions during a tempestuous compositional interval after having decided to devote his life to composition, including a symphony in D minor (TrV 94), which was well received. The following year he began to sketch the Violin Concerto in D minor, among several other compositions. Although it is today rarely performed, it received encouraging reviews, including the following by Karl Klindworth from May 1882, before its premiere:

The Violin Concerto No. 3 in B minor, Op. 61, by Camille Saint-Saëns is a piece for violin and orchestra written in March 1880. Saint-Saëns dedicated the concerto to fellow composer-virtuoso Pablo de Sarasate, who performed the solo part at the premiere in October 1880 in Hamburg.

Even though the third violin concerto seems to impose fewer technical demands on the soloist than its predecessors, its melodic invention and impressionistic subtlety present significant interpretive challenges. This stress is most notable in the second movement and the chorale of the finale, which is reminiscent of the conclusion of the Fourth Piano Concerto. Possibly because of this, the Third Concerto along with the Introduction and Rondo Capriccioso, Op. 28, and the Havanaise, Op. 83 have endured as the major concertante works for violin by Saint-Saëns still heard regularly today.