The Art of Concertos

Throughout the history of classical music different compositional styles have come and gone, an idea, if thought about, which has contributed significantly to the beauty and complexity of music itself.  Bach wrote fugues and toccatas, an area of music which is central to classical music and to the development of later styles, but not seen too much in later repertoire.  Sonatas, symphonies, fantasies, impromptus, are all different styles and each has its proper place and time in the music universe.  Out of all the styles, I am often most touched and intrigued by concertos.  Just for the sake of clarification, a concerto is a piece of music which contains in it a strong emphasis on a particular solo instrument.  For instance, a violin concerto contains a regular orchestra and a violin which accompanies it, or often "debates" or "responds" to it.  When I think about it concertos often really touch upon the essence of what music is all about.  In our lives we have music all around us.  The people we live with, the cars and buses, the buildings and trees, our friends and our enemies.  Sometimes the music in our lives can be pleasant and sometimes it can be painful and harsh, but often we are so overcome by the music around us that we fail to hear the music of ourselves.  In Beethoven's Piano Concert in G major I hear the piano standing up to the world and taking a stance.  I hear myself in the piano debating and standing up for myself against my opposition.  In Elgar's Cello Concerto I hear myself in the cello singing along with the rest of the orchestra, but with my own voice.  The cello gives expression to the self in the whole.  The individual amongst the many.  There is hardly any other way in music to express the call of the individual, the shouting of the person, other than concertos.  And with that I shall leave you with a bit of true self expression:
Grieg's Piano Concerto.