Little wonder, then, that the concerto grew out of the same musical setting in 17th-century Italy that gave birth to opera. And like opera, the concerto is a vehicle for the depiction of every human emotion and relationship imaginable, from the gentlest and most tender to the most violent and confrontational, and everything in between.

The concerto is also an extreme sport for soloists, representing musical life lived at the edge, as instruments and the musicians who play them are pushed to the very limit of what is possible by composers exploring the extremes of instrumental virtuosity.

Best of all, the concerto repertoire is huge! The genre was invented long before the symphony. As a result, Bach, Handel, Vivaldi, Corelli, and Telemann composed hundreds of concerti, but among them not a single symphony. Mozart’s great concerti far outnumber his great symphonies; Beethoven wrote almost as many concerti as symphonies; and Brahms composed equal numbers of both. During the 18th and 19th centuries, at least as many concerti were composed as symphonies. And during the 20th century, in terms of sheer quantity, the concerto was by far the single most important genre of orchestral music.