A history of the concerto form which includes individual commentary, and appreciation of all compositions in this form, and gives biographical sidelights on their composers. The concerto, its principle of composition and orchestration, the concerto grosso which reached its peak in Bach, the solo concerto and classical concerto, down to the 18th century when it became chiefly a display piece for virtuosos. Brahms restored it to its greatness. He then traces its course through the nationalist music of the Russians, Scandinavians, etc. down to the moderns. Fine writing, cleancut, occasionally corrosive criticism, for a work of interest to students and musicians and connoisseurs.