A cello concerto (sometimes called a violoncello concerto) is a concerto for solo cello with orchestra or, very occasionally, smaller groups of instruments. These pieces have been written since the Baroque era if not earlier. However, unlike instruments such as the violin, the cello had to face harsh competition from the older, well-established viola da gamba. As a result, few important cello concertos were written before the 19th century – with the notable exceptions of those by Vivaldi, C.P.E. Bach, Haydn and Boccherini. Its full recognition as a solo instrument came during the Romantic era with the concertos of Schumann, Saint-Saëns, Lalo and Dvořák. From then on, cello concertos have become more and more frequent. Twentieth-century composers have made the cello a standard concerto instrument, along with the already-rooted piano and violin concertos; among the most notable concertos of the first half of the century are those of Elgar, Prokofiev, Barber and Hindemith. Many post-World War II composers (Shostakovich, Walton, Ligeti, Britten, Dutilleux, Lutoslawski and Penderecki among others) have written at least one. One special consideration composers must take with the cello (as well as all instruments with a low range) is with the issue of projection. Unlike instruments like the violin, whose high range projects fairly easily above the orchestra, the cello's lower notes can be easily lost when the cello is not playing a solo or near solo. Because of this, composers have had to deliberately pare down the orchestral component of cello concertos while the cello is playing in the lower registers.

This is a list of musical compositions for violin and orchestra. See entries for concerto and violin concerto for a description of related musical forms.

This is a list of compositions of Édouard Lalo.

This is a list of compositions of Édouard Lalo.

This is a list of musical compositions for keyboard instruments such as the piano, organ or harpsichord and orchestra. See entries for concerto, piano concerto, organ concerto and harpsichord concerto for a description of related musical forms.

This is a list of musical compositions for keyboard instruments such as the piano, organ or harpsichord and orchestra. See entries for concerto, piano concerto, organ concerto and harpsichord concerto for a description of related musical forms.

The Rapsodie norvégienne is a symphonic work by Édouard Lalo composed in 1879. This rhapsody is a re-instrumentation of the Norwegian Fantasy for violin and orchestra, Lalo's previous score, using Norwegian folk tunes. It was first performed with great success at the Concerts Colonne (while being dedicated to Édouard Colonne, their founder) on 16 October 1879 and given again on 9 November. It is written in two movements: Andantino - Allegretto Presto.

This is a list of compositions of Édouard Lalo.

Édouard-Victoire-Antoine Lalo (27 January 1823 – 22 April 1892) was a French composer, violist, violinist, and academic teacher. His most celebrated piece is the Symphonie Espagnole, a five-movement concerto for violin and orchestra that remains a popular work in the standard repertoire.

The Symphonie espagnole in D minor, Op. 21, is a work for violin and orchestra by Édouard Lalo.

The Symphony in G minor was Édouard Lalo’s final original orchestral composition. It was composed in 1885-1886. (There were two earlier symphonies composed by Lalo, believed destroyed). It was premiered on 7 February 1887 in Paris at the Concerts Lamoureux under Charles Lamoureux. It is a classically constructed romantic symphony with the composer’s Latin roots present in the melodies and orchestration. There are four movements with 28 minutes duration: I. Andante - Allegro non troppo II. Vivace III. Adagio IV. Allegro Instrumentation is two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, tuba, timpani and strings. The full score was published by G. Hartmann in 1888, and brought out as a Heugel et Cie imprint in 1900 as plate 1820 (Heugel having purchased Hartmann in 1891). Xavier Leroux also made a four hand piano version, published by Heugel as plate 1795. In a letter of 7 March 1887 to author and Wagner enthusiast Adolphe Jullien responding for information on the symphony, Lalo stated his belief in pure music over descriptive music: “It appears that you personally wish to have some information regarding the thought which predominates in my symphony. Alas, I am going to scandalize you! I had no literary thought in the sense that you mean. When I write a composition to words, I become a slave to what convention terms the verities of musical expression, according to a given text. But when I write music without a literary text, I have before and about me only the domain of sounds, melodic and harmonic. For a musician, this immense field possesses in itself, aside from all literature, its poems and its dramas. As to my Symphony, I have presented the master phrase in a brief introduction, as you have been kind enough to remark; it predominates in the first movement, and I recall it in the others whenever my poetic or dramatic musical intentions (do not laugh!) make its intervention seem necessary to me”. Lalo’s symphony was called one of the "happiest" of French symphonies in a 1925 article in The Musical Quarterly. Lalo’s is from the same period that produced three other notable French symphonies: Saint-Saëns Symphony No. 3 "Organ Symphony", d'Indy’s Symphony on a French Mountain Air, and Franck’s Symphony in D minor. Lalo's work was neglected until Thomas Beecham "discovered" it and conducted it regularly. In the United States, only the New York Philharmonic amongst major symphony orchestras performed the work up to 1970 (that sole performance being in 1931). A 1961 review of the first major recording (Beecham’s made in 1959 at the Salle Wagram in Paris) disparaged the composition as "not very rewarding. Both matter and manner are dull and undistinguished, without the sparkle and melodic charm of the popular Symphonie Espagnole". A 1976 review of Antonio de Almeida’s recording suggests that "the cyclic theme does bear an unfortunately close resemblance to the opening of the Brahms B-flat Piano Concerto, in a way that Lalo surely did not intend". This review finds the second movement the most cohesive of the four and "wonderfully scored", suggesting Bizet's Symphony in C as the "closest equivalent".

A violin concerto is a concerto for solo violin (occasionally, two or more violins) and instrumental ensemble (customarily orchestra). Such works have been written since the Baroque period, when the solo concerto form was first developed, up through the present day. Many major composers have contributed to the violin concerto repertoire. Traditionally a three-movement work, the violin concerto has been structured in four movements by a number of modern composers, including Dmitri Shostakovich, Igor Stravinsky, and Alban Berg. In some violin concertos, especially from the Baroque and modern eras, the violin (or group of violins) is accompanied by a chamber ensemble rather than an orchestra—for instance, in Vivaldi's L'estro armonico, originally scored for four violins, two violas, cello, and continuo, and in Allan Pettersson's first concerto, for violin and string quartet.