The Clarinet Sonatas, Op. 120, Nos. 1 and 2, are a pair of works written for clarinet and piano by the Romantic composer Johannes Brahms. They were written in 1894 and are dedicated to the clarinetist Richard Mühlfeld. The sonatas stem from a period late in Brahms's life where he discovered the beauty of the sound and tonal colour of the clarinet. The form of the clarinet sonata was largely undeveloped when Brahms wrote his, after which the combination of clarinet and piano was more readily used in composers’ new works. These were the last chamber pieces Brahms wrote before his death and are considered two of the great masterpieces in the clarinet repertoire. Brahms also produced a frequently performed transcription of these works for viola with alterations to better suit the instrument.

Carl Maria von Weber's Concerto for Bassoon in F Major, Op. 75 (J. 127) was composed in 1811 for Munich court musician Georg Friedrich Brandt, was premiered on December 28, 1811, and then revised in 1822. Primarily an opera conductor and composer, Weber had only arrived a few months earlier in Munich, where he was extremely well received. The concerto is one of two pieces written for bassoon by Weber, the other being Andante e Rondo Ungarese, Op. 35 (J. 158). A typical performance lasts 18–20 minutes.

Carl Maria von Weber wrote his Clarinet Concerto No. 1 in F minor, Op. 73 (J. 114) for the clarinettist Heinrich Bärmann in 1811. The piece is highly regarded in the instrument's repertoire. It is written for clarinet in B♭. The work consists of three movements in the form of fast, slow, fast. It was premiered in Munich on 13 June 1811, with Maximilian I Joseph of Bavaria in attendance.

Carl Maria von Weber wrote his Clarinet Concerto No. 2 in E♭ major, Op. 74, J. 118 in 1811, and premiered on December 25, 1813. It is composed of three movements: Allegro Romanze: Andante con moto Alla Polacca A typical performance lasts 23 minutes. The 1st movement typically lasts for approximately 8:30 minutes, the 2nd movement for approximately 7 minutes and the 3rd movement for between 6:30 and 7 minutes depending on the tempo. Like all of Weber's clarinet works except for the Grand Duo Concertant, it is dedicated to Heinrich Baermann, who was soloist at the premiere.

This is a list of musical compositions for cello and orchestra ordered by their authors' surnames.

Concertino is the diminutive of concerto, thus literally a small or short concerto.

The Concertino for Horn and Orchestra in E minor, J. 188 (Op. 45), was composed in 1806 for the Karlsruhe player Dautrevaux, and revised for the Munich virtuoso Rauch in 1815 (completed on 31 August) by Carl Maria von Weber (Warrack 1976, p. 167). It is an extremely taxing work, whether played on the natural horn for which it was written, or on the modern valve horn. The soloist is accompanied by a small orchestra. It requires, among other feats, that the player produce what is in effect a four-note chord using the interplay between humming and the sound from the instrument, a technique known as multiphonics. The autograph manuscript of the work is preserved in the Berlin State Library. The work is widely recorded and performed, appearing in the repertoire of well-known horn players including Hermann Baumann, Barry Tuckwell and David Pyatt. It was originally written for the natural horn, and the authentic performance movement still sees it played on this instrument; for example, by Anthony Halstead with the Hanover Band, or by Hector McDonald with the Wiener Akadamie.

Sir Arthur Seymour Sullivan (13 May 1842 – 22 November 1900) was an English composer. He is best known for 14 comic opera collaborations with the dramatist W. S. Gilbert, including H.M.S. Pinafore, The Pirates of Penzance and The Mikado. His works include 24 operas, 11 major orchestral works, ten choral works and oratorios, two ballets, incidental music to several plays, and numerous church pieces, songs, and piano and chamber pieces. His hymns and songs include "Onward, Christian Soldiers" and "The Lost Chord". The son of a military bandmaster, Sullivan composed his first anthem at the age of eight and was later a soloist in the boys' choir of the Chapel Royal. In 1856, at 14, he was awarded the first Mendelssohn Scholarship by the Royal Academy of Music, which allowed him to study at the academy and then at the Leipzig Conservatoire in Germany. His graduation piece, incidental music to Shakespeare's The Tempest (1861), was received with acclaim on its first performance in London. Among his early major works were a ballet, L'Île Enchantée (1864), a symphony, a cello concerto (both 1866), and his Overture di Ballo (1870). To supplement the income from his concert works he wrote hymns, parlour ballads and other light pieces, and worked as a church organist and music teacher. In 1866 Sullivan composed a one-act comic opera, Cox and Box, which is still widely performed. He wrote his first opera with W. S. Gilbert, Thespis, in 1871. Four years later, the impresario Richard D'Oyly Carte engaged Gilbert and Sullivan to create a one-act piece, Trial by Jury (1875). Its box-office success led to a series of twelve full-length comic operas by the collaborators. After the extraordinary success of H.M.S. Pinafore (1878) and The Pirates of Penzance (1879), Carte used his profits from the partnership to build the Savoy Theatre in 1881, and their joint works became known as the Savoy operas. Among the best known of the later operas are The Mikado (1885) and The Gondoliers (1889). Gilbert broke from Sullivan and Carte in 1890, after a quarrel over expenses at the Savoy. They reunited in the 1890s for two more operas, but these did not achieve the popularity of their earlier works. Sullivan's infrequent serious pieces during the 1880s included two cantatas, The Martyr of Antioch (1880) and The Golden Legend (1886), his most popular choral work. He also wrote incidental music for West End productions of several Shakespeare plays, and held conducting and academic appointments. Sullivan's only grand opera, Ivanhoe, though initially successful in 1891, has rarely been revived. In his last decade Sullivan continued to compose comic operas with various librettists and wrote other major and minor works. He died at the age of 58, regarded as Britain's foremost composer. His comic opera style served as a model for generations of musical theatre composers that followed, and his music is still frequently performed, recorded and pastiched.

Invitation to the Dance (Aufforderung zum Tanz), Op. 65, J. 260, is a piano piece in rondo form written by Carl Maria von Weber in 1819. It is also well known in the 1841 orchestration by Hector Berlioz. It is sometimes called Invitation to the Waltz, but this is a mistranslation of the original. The autograph manuscript of the work is preserved in the Morgan Library & Museum.

The following is a complete list of compositions by Carl Maria von Weber in order of both opus number and catalogue number. A complete chronological catalogue of Weber's works was compiled by Friedrich Wilhelm Jähns and published in 1871. Catalogue numbers are indicated by a preceding "J."

The Konzertstück in F minor for Piano and Orchestra, Op. 79, J. 282, was written by Carl Maria von Weber. He started work on it in 1815, and completed it on the morning of the premiere of his opera Der Freischütz, 18 June 1821. He premiered it a week later, on 25 June, at his farewell Berlin concert.

This is part of a list of students of music, organized by teacher.

A concerto (; plural concertos, or concerti from the Italian plural) is, from the late Baroque era, mostly understood as an instrumental composition, written for one or more soloists accompanied by an orchestra or other ensemble. The typical three-movement structure, a slow movement (e.g., lento or adagio) preceded and followed by fast movements (e.g., presto or allegro), became a standard from the early 18th century. The concerto originated as a genre of vocal music in the late 16th century: the instrumental variant appeared around a century later, when Italians such as Arcangelo Corelli and Giuseppe Torelli started to publish their concertos. A few decades later, Venetian composers, such as Antonio Vivaldi, had written hundreds of violin concertos, while also producing solo concertos for other instruments such as a cello or a woodwind instrument, and concerti grossi for a group of soloists. The first keyboard concertos, such as George Frideric Handel's organ concertos and Johann Sebastian Bach's harpsichord concertos, were written around the same time. In the second half of the 18th century, the piano became the most used keyboard instrument, and composers of the Classical Era such as Joseph Haydn, Wolfgang Amadeus Mozart and Ludwig van Beethoven each wrote several piano concertos, and, to a lesser extent, violin concertos, and concertos for other instruments. In the Romantic Era, many composers, including Niccolò Paganini, Felix Mendelssohn, Frédéric Chopin, Robert Schumann, Johannes Brahms, Pyotr Ilyich Tchaikovsky and Sergei Rachmaninoff, continued to write solo concertos, and, more exceptionally, concertos for more than one instrument; 19th century concertos for instruments other than the piano, violin and cello remained comparatively rare, however. In the first half of the 20th century, concertos were written by, among others, Maurice Ravel, Edward Elgar, Richard Strauss, Sergei Prokofiev, George Gershwin, Heitor Villa-Lobos, Joaquín Rodrigo and Béla Bartók, the latter also composing a concerto for orchestra, that is without soloist. During the 20th century concertos appeared by major composers for orchestral instruments which had been neglected in the 19th century such as the clarinet, viola and French horn. In the second half of the 20th century and onwards into the 21st a great many composers have continued to write concertos, including Alfred Schnittke, György Ligeti, Dmitri Shostakovich, Philip Glass and James MacMillan among many others. An interesting feature of this period is the proliferation of concerti for less usual instruments, including orchestral ones such as the double bass (by composers like Eduard Tubin or Peter Maxwell Davies) and cor anglais (like those by MacMillan and Aaron Jay Kernis), but also folk instruments (such as Tubin's concerto for Balalaika, Serry's Concerto in C Major for Bassetti Accordion, or the concertos for Harmonica by Villa-Lobos and Malcolm Arnold), and even Deep Purple's Concerto for Group and Orchestra, a concerto for a rock band. Concertos from previous ages have remained a conspicuous part of the repertoire for concert performances and recordings. Less common has been the previously common practice of the composition of concertos by a performer to be performed personally, though the practice has continued via certain composer-performers such as Daniil Trifonov.

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.

Carl Maria von Weber's Symphony No. 1 in C Op. 19, (J. 50) was written in 1806–1807. It was written for Duke Eugen of Württemberg, who employed Weber from 1806. It has four movements:

The following is a complete list of compositions by Carl Maria von Weber in order of both opus number and catalogue number. A complete chronological catalogue of Weber's works was compiled by Friedrich Wilhelm Jähns and published in 1871. Catalogue numbers are indicated by a preceding "J."

Symphonic Metamorphosis of Themes by Carl Maria von Weber is an orchestral work written by German composer Paul Hindemith in the United States in 1943.