The Double Horn Concerto: A Specialty of the Oettingen-Wallerstein Court

Abstract

O ne of the most intriguing and still little considered byroads of the classical style in music is the ensemble concerto.' Such works appeared during the later eighteenth century under a variety of names, including sinfonia concertante, concertante, concertino, and concerto, but the commonly accepted designation appears to have been the French term symphonie concertante.2 This term normally refers to an orchestral work of two or three movements composed for a small group of solo instruments and orchestra.3 In the early stages of the genre's development, works featuring two solo violins were favored.4 Later, other combinations of solo string instruments or mixed string and wind ensembles gradually replaced the duo violins. Near the end of the century solo groups of multiple wind instruments became especially popular.5 Barry Brook points out that between 1770 and 1830 about 210 composers wrote approximately 570 works specifically entitled symphonie con-

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