However, components of that activity (playing a piano concerto) are specifically human, such as the musicality and artistic components.
Its companion is another concerto-like piece, but one which blurs some of the conventional distinctions between genres.
The concerto begins with a brief fusillade of demisemiquavers from the violins, underpinned by the bass drum and capped by flourishes from the soloists.
There are few charts of rotation or transposed inversion for these concertos.
In quantitative terms, the surviving works are heavily dominated by concertos and related genres (sinfonie, chamber concertos and sonatas).
The general assumption has been that each of them was designed as a substitute movement for a concerto.
He added at least one piano concerto and three solo piano sonatas to his portfolio, soon after a sonata for piano duet.
By the 1670s the repertories of modern church concertos had become localised and were often specific to a particular institution or choir.
