Brandenburg Concerto No. 5 as concerto grosso: the first, third and sixth of these concertos have however no concertino versus orchestra distinction. The concerto grosso was a Roman invention, typically featuring two violins and a cello as concertino, with a string orchestra of multiple string instruments per part. Venetian composers seemed slow in adopting the genre, and as Bach and his German contemporaries rather turned to Venetian music they may have been hardly aware of it. The fifth "Brandenburg Concerto" seems intended to be performed with one instrument per part, as to not overpower the harpsichord with its relatively restrained volume, and was not
Piano concertos by Wolfgang Amadeus Mozart of "fiddling" with all the themes, instead is left with the ritornellic impression: Mozart truly uses "art to conceal art". One further point of great importance is the interaction between piano and orchestra. In the earlier concertos, such as the not totally successful No. 13 in C major, and even more so, perforce, in the concertos for two and three pianos, the interaction between the two is limited, but the later concertos develop the subtle relations between them to a high degree; for example, in No. 16, K. 451. His later concertos are truly described as concertos for "piano and