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Several other works feature the harpsichord as a solo instrument alongside others, including: Frank Martin - Petite symphonie concertante for harp, harpsichord, piano and double string orchestra (1945) Elliott Carter - Double Concerto (1959–61, for harpsichord and piano with two chamber orchestras) Alfred Schnittke - Concerto Grosso No. 1 ...
Fantasy for piano and orchestra on twelve notes from "non si pasce di cibo mortale chi si pasce di cibo celeste" from the second act of Mozart's Don Giovanni; Concerto soiree for piano and orchestra; Concerto in E minor for piano and orchestra (piccolo mondo antico) Concerto in C major for piano and orchestra; Albert Roussel. Concerto in C, Op ...
Johann Christian Ludwig Abeille. Grand Concerto in D major, Op. 6 (1763), for one piano four-hands and orchestra; Carl Friedrich Abel. 6 Concertos for harpsichord (or pianoforte), two violins and cello, Op. 11 (first printed in 1771; F, B-flat, E-flat, D, G, C)
Keyboard instruments are not usually a standard members of a 2010-era orchestra or concert band, but they are included occasionally. In orchestras from the 1600s to the mid-1750s, a keyboard instrument such as the pipe organ or harpsichord was normally played with an orchestra, with the performer improvising chords from a figured bass part.
Perhaps the most celebrated composers who wrote for the harpsichord were Georg Friedrich Händel (1685–1759), who composed numerous suites for harpsichord, and especially J. S. Bach (1685–1750), whose solo works (for instance, The Well-Tempered Clavier and the Goldberg Variations), continue to be performed very widely, often on the piano.
The Double Concerto has been highly praised by critics and musicians alike. Reviewing a 1994 performance of the work by the Los Angeles Philharmonic, Martin Bernheimer of the Los Angeles Times remarked: The Double Concerto for harpsichord, piano and two chamber orchestras, written in 1961, still makes a mighty noise in many, marvelous ways.
Using all of the common stringed instruments available, Martin desired to use the harp, harpsichord and piano not as accompanying, or 'basso continuo' instruments (as is often their role) but as solos, thus being a distant echo of J.S. Bach's Brandenburg Concerto No. 5, and justifying the work's title of symphonie concertante. The work gained ...
Of all Bach's harpsichord concertos, this is probably the only one that originated as a harpsichord work without orchestra. [49] The work originated as a concerto for two harpsichords unaccompanied (BWV 1061a, a.k.a. BWV 1061.1, [ 50 ] in the manner of the Italian Concerto, BWV 971 ), and the addition of the orchestral parts (BWV 1061, a.k.a ...