Editing Concerto (section)

===20th and 21st century===
{{more citations needed|section|date=April 2021}}
Many of the concertos written in the early 20th century belong more to the late Romantic school, hence modernistic movement. Masterpieces were written by [[Edward Elgar]] (a violin concerto and a cello concerto), [[Sergei Rachmaninoff]] and [[Nikolai Medtner]] (four and three piano concertos, respectively), [[Jean Sibelius]] (a violin concerto), [[Frederick Delius]] (a violin concerto, a [[Cello Concerto (Delius)|cello concerto]], a piano concerto and a [[double concerto for violin and cello]]), [[Karol Szymanowski]] (two violin concertos and a "Symphonie Concertante" for piano), and [[Richard Strauss]] (two horn concertos, a violin concerto, ''Don Quixote''—a tone poem that features the cello as a soloist—and among later works, an [[oboe concerto]]).

However, in the first decades of the 20th century, several composers such as [[Debussy]], [[Arnold Schoenberg|Schoenberg]], [[Alban Berg|Berg]], [[Hindemith]], [[Stravinsky]], [[Prokofiev]] and [[Bartók]] started experimenting with ideas that were to have far-reaching consequences for the way music is written and, in some cases, performed. Some of these innovations include a more frequent use of [[Musical mode|modality]], the exploration of non-western [[Musical scale|scales]], the development of [[atonality]] and [[neotonality]], the wider acceptance of [[consonance and dissonance|dissonances]], the invention of the [[twelve-tone technique]] of composition and the use of [[polyrhythm]]s and complex [[time signature]]s.

These changes also affected the concerto as a musical form. Beside more or less radical effects on musical language, they led to a redefinition of the concept of virtuosity that included new and extended instrumental techniques and a focus on previously neglected aspects of sound such as [[Pitch (music)|pitch]], [[timbre]] and [[dynamics (music)|dynamics]]. In some cases, they also brought about a new approach to the role of soloists and their relation to the orchestra.

Two great innovators of early 20th-century music, [[Arnold Schoenberg|Schoenberg]] and [[Igor Stravinsky|Stravinsky]], both wrote violin concertos. The material in Schoenberg's concerto, like that in [[Alban Berg|Berg's]], is linked by the [[twelve-tone technique|twelve-tone serial]] method. In the 20th century, particularly after the Second World War, the cello enjoyed an unprecedented popularity. As a result, its concertante repertoire caught up with those of the piano and the violin both in terms of quantity and quality.

The 20th century also witnessed a growth of the concertante repertoire of instruments, some of which had seldom or never been used in this capacity, and even a concerto for wordless coloratura soprano by [[Reinhold Glière]].{{sfn|Eggink|Brown|2004}} As a result, almost all classical instruments now have a concertante repertoire. Among the works of the prolific composer [[Alan Hovhaness]] may be noted ''Prayer of St. Gregory'' for trumpet and strings, though it is not a concerto in the usual sense of the term. In the later 20th century the concerto tradition was continued by composers such as [[Peter Maxwell Davies|Maxwell Davies]], whose series of [[Strathclyde Concertos]] exploit some of the instruments less familiar as soloists.

In addition, the 20th century gave rise to several composers who experimented further by showcasing a variety of nontraditional orchestral instruments within the center of the orthodox concerto form. Included within this group are: [[Paul Hindemith]] (''Concerto for [[Trautonium]] and String Orchestra'' in 1931),<ref>{{cite book | last=Holmes | first=Thom | title=Electronic and Experimental Music | publisher=New York : Routledge | publication-place=New York | date=2002 | isbn=978-0-415-93643-9 | page=66-67 | url = https://books.google.com/books?id=ILkquoGXEq0C&pg=PA66}}</ref> [[Andre Jolivet]] (''Concerto of [[Ondes Martenot]]'' in 1947),<ref>{{cite book | last=Roeder | first=Michael Thomas | title=A History of the Concerto | publisher=Hal Leonard Corporation | publication-place=Portland, Or | date=1994 | isbn=978-0-931340-61-1 | page=397 | url = https://books.google.com/books?id=mutaps6xlIIC&pg=PA397}}</ref> [[Heitor Villa-Lobos]] (''Concerto for Harmonica'' in 1956),<ref>{{cite book | last=Krampert | first=Peter | title=The Encyclopedia of the Harmonica | publisher=Mel Bay Publications | date=2016-03-23 | isbn=978-1-61911-577-4 | page=178 | url = https://books.google.com/books?id=YRsxDwAAQBAJ&pg=PA178 }}</ref><ref>{{cite book | last=Roeder | first=Michael Thomas | title=A History of the Concerto | publisher=Hal Leonard Corporation | publication-place=Portland, Or | date=1994 | isbn=978-0-931340-61-1 | page=410 | url = https://books.google.com/books?id=mutaps6xlIIC&pg=PA410}}</ref> [[John Serry Sr.]] (''[[Concerto for Free Bass Accordion|Concerto in C Major for Bassetti Accordion]]'' in 1966),<ref>{{cite web|url=https://publicrecords.copyright.gov/detailed-record/voyager_21992857 |title=The Library of Congress Copyright Office - Public Catalog 1978 - Present, "Concerto in C major for Free Bass Accordion" (Revised for Piano), Composer: John Serry Sr.|date=2002|quotation=Copyright # PAU 3-336-024|website=Cocatalog.loc.gov}}</ref><ref>{{cite web | title=John J. Serry, Sr., Collection | url=https://www.esm.rochester.edu/sibley/files/John-J-Serry-Sr-Collection.pdf | publisher = Eastman School of Music - University of Rochester - Sibley Music Library }} "Concerto in C Major (1967) for Free Bass Accordion " Folder 15 & 16 p. 10</ref> [[Astor Piazzolla]] (''Concerto for [[Bandoneon]], String Orchestra and Percussion'', "Aconcagua" in 1979),<ref>{{cite book | last=Broughton | first=Simon | last2=Ellingham | first2=Mark | last3=Trillo | first3=Richard | title=World Music: Latin and North America, Caribbean, India, Asia and Pacific | publisher=Rough Guides | publication-place=London | date=2000 | isbn=978-1-85828-636-5 | page=309 | url = https://books.google.com/books?id=QzX8THIgRjUC&pg=PA309}}</ref> [[Peter Maxwell Davies]] (''Concerto for [[Piccolo]] and Orchestra,'' Op. 182 in 1996),<ref>{{cite book | last=Craggs | first=Stewart R. | title=Peter Maxwell Davies | publisher=Routledge | publication-place=Milton | date=2017-07-12 | isbn=978-1-351-76502-2 | url = https://books.google.com/books?id=TyIuDwAAQBAJ&pg=PA1997-IA1}}</ref><ref>{{cite book | last=Davies | first=Peter Maxwell | title=Peter Maxwell Davies, Selected Writings | publisher=Cambridge University Press | date=2017-11-09 | isbn=978-1-108-50074-6 | page=124 | url = https://books.google.com/books?id=P1M6DwAAQBAJ&pg=PA124}}</ref> and [[Tan Dun]] (''Concerto for Water Percussion and Orchestra'' in 1998)<ref>{{cite book | last=Sheinberg | first=Esti | last2=Dougherty | first2=William P. | title=The Routledge Handbook of Music Signification | publisher=Routledge | publication-place=Abingdon, Oxon New York | date=2020-03-17 | isbn=978-1-351-23751-2 | url = https://books.google.com/books?id=3CrXDwAAQBAJ&pg=PT281}}</ref><ref>[https://www.classical-music.com/features/works/10-of-the-best-concertos-for-unusual-instruments Classical Music "10 of the Best Concertos for Unusual Instruments"]  BBC Music Magazine 27 Feb. 2024</ref>

Other composers of this era adopted a neoclassical rejection of specific features which typically characterized the concerto form during the Baroque or Romantic periods. Several of them achieved this objective by incorporating various musical elements from the realm of [[jazz]] within the structure of the concerto. Included in this group were: [[Aaron Copland]] (''Concerto for Piano'', 1926), [[Maurice Ravel]] (''[[Piano Concerto for the Left Hand (Ravel)|Concerto for the Left Hand]]'', 1929), [[Igor Stravinsky]] (''[[Ebony Concerto (Stravinsky)|Ebony Concerto]]'' for clarinet and jazz band, 1945) and [[George Gershwin]] (''[[Concerto in F (Gershwin)|Concerto in F]]'', 1925).<ref name=HDM202>{{cite book | last=Apel | first=Willi | title=Harvard Dictionary of Music | publisher=Harvard University Press | publication-place=Cambridge, Mass | date=1969 | isbn=978-0-674-37501-7 | page= 202 | url = https://books.google.com/books?id=02rFSecPhEsC&pg=PA202 }}</ref> Still others called upon the orchestra itself to function as the primary virtuosic force within the concerto form. This approach was adopted by [[Bela Bartok]] in his ''[[Concerto for Orchestra (Bartok)|Concerto for Orchestra]]'' as well by other composers of the period including: [[Walter Piston]] (1933), [[Zoltan Kodaly]] (1939), [[Michael Tippet]] (1962) and [[Elliott Carter]] (1969).<ref name=HDM202 />
    
Concertos with concert band include:
*[[Steven Bryant (composer)|Bryant]] – 2007–2010{{relevance inline|date=April 2021}}
*[[Lukas Foss|Foss]] – 2002{{relevance inline|date=April 2021}}
*[[Karel Husa|Husa]] – 1982{{sfn|Burns|2000}}
*[[Gordon Jacob|Jacob]] – 1974{{relevance inline|date=April 2021}}
*[[Robert E. Jager|Jager]] – 1982{{relevance inline|date=April 2021}}