ABSTRACT
The piano concertos that Schumann knew and studied early on can be labeled, if rather loosely, virtuoso concertos. The most important point of similarity is the pattern of alternating large tutti and solo sections, whereas one of the most conspicuous differences is the radically changed relationship between tutti and solo sections. Classical and the virtuoso concertos share an overall outline in their first movements of four tutti ritornellos framing three solo sections, the latter corresponding to the exposition, development and recapitulation of sonata form. On rare occasions the smooth rhythmic transition from the thematic area to the close found in classical concertos survives in virtuoso concertos. The virtuoso concerto as essentially a piece for piano alone with orchestral introduction is, of course, connected with the drastic reduction or complete elimination of any orchestra role in the three solo areas.
