The Best Composers for Each Instrument

Many of the greatest composers, who wrote iconic works for orchestra, opera, etc., were geniuses in melody, development and orchestration, to name a few skillsets. But when writing for orchestra or other large scale ensemble, one focuses on bigger ideas than minute instrument writing, and often the individual parts could be awkward or boring. There were many other great composers, often who wrote on a smaller scale, who deserve attention for their dedication to the nuances of the various instruments and utilizing them to their strengths. In this post I will go through every major instrument and some of my favorite composers for those instruments.

PIANO

Let’s start with the big one. There has easily been more written for piano than any other instrument, mostly because it is the definitive solo instrument and can produce complex music on par with an entire orchestra. Because of it’s popularity, most people will probably have their own opinions on the best piano composers; I have made my picks based on how creatively the instrument was used, the variety of colors achieved and, of course, the quality of music. (This was also the hardest list to choose; there are many more than five great composers for piano)

1. Frederic Chopin – His output ranged from playful dances to bewitching nocturnes to the virtuosic ballades and sonatas. Chopin’s works were almost exclusively written for solo piano (his orchestration was notoriously awful) but he is unparalleled in his understanding of how to make the different voices of the instrument work together, and always so intuitively. [Ex. Ballade No. 4 in F minor, Nocturnes Op. 27]
2. Ludwig van Beethoven – Everyone knows Beethoven and everyone knows he wrote for piano, but many (including non-pianist musicians) don’t know much further than the first movement of ‘Moonlight Sonata’ or ‘Fur Elise’. It’s a shame because not only was his output for the instrument immense, but also genre defining, with his last set of piano sonatas changing how one thinks about the possibilities of sound that a solo instrument can achieve. [Ex. Sonata No. 32 in C minor, Diabelli Variations)
3. Sergei Rachmaninoff – Late romantic virtuosity meets crushingly intense themes, Rachmaninoff’s music is one of the most played for a reason. His concerto’s are legendary and his solo work is complex and innovative. Most impressively, the staggering difficulty of the pieces is always necessary to the music, never feeling flashy just for the sake of it. [Ex. Piano Concerto No. 3 in D minor, Etudes-Tableaux Op. 39]
4. Robert Schumann – Nobody before or after him has written for the piano like Schumann. It’s unpredictable, opaque, sometimes wandering and, often, genius. The notes are hard and interpreting them is even harder, but the end product is some of the most rewarding and beguiling music ever composed. [Ex. Symphonic Etudes, Carnaval]
5. Maurice Ravel – The impressionist movement redefined how a piano could sound, and piggybacking off of Debussy’s innovations, Ravel created from of the most fantastical (and challenging) textures ever written on the piano. He is as known for his grand concertos as he is for his enchanting solo suites. [Ex. Miroirs, Piano Concerto in G Major]

ORGAN

Like piano, the organ is a very capable solo instrument, although it’s strengths are quite different from it’s smaller cousin. It’s can play many more notes, on more staves, with more sustenance (and dissonance). It isn’t a great instrument for delicate “pretty” pieces or quick, lively scherzos; instead it’s strengths are in utilizing the multiple voicings, variable stops and the awe-inspiring power. To write for the organ well, you have to play the organ well and that is a lifelong endeavor, typically involving playing in churches every week (as all the following composers did).

1. Johann Sebastian Bach – No surprise here. The guy wrote an absurd amount of music for the organ (again mostly for the church) and in doing so became the definitive composer for the instrument and one of the fathers of Western music. His preludes and fugues are probably the best place to start to get into the world of organ music. [Ex. Passacaglia and Fugue in C minor BWV 582, Prelude and Fugue in E-flat Major BWV 552]
2. Charles Marie-Widor – After Bach, Marie-Widor is next name people think of when thinking of organ music. Following in the grand French tradition, his music was ambitious, sometimes a little bloated, but usually glorious. His ten organ “symphonies” were so definitive for the instrument that they overshadowed anything else he wrote, but when writing for something as complex as the organ, it necessitates specialization. [Ex. Symphony for Organ No. 5 & 6]
3. Olivier Messiaen – Messiaen had a completely unique style when it came to composition, implementing nature sounds, synesthesia and native world music. Pair this with very religious, god-fearing, subject matter and his organ works are jarring, mysterious and unforgettable works that necessitate repeat hearings. [Ex. La Nativite de Seigneur, Livre du Saint-Sacrement]
4. Dieterich Buxtehude – A precursor and influence to Bach, Buxtehude was a great Baroque talent at organ and while not terribly groundbreaking, his musical output was notable for it’s beauty and pushing the limits of technical difficulty on the instrument. If you’re looking for Baroque organ that’s a bit lighter than Bach but still brilliant, this is your guy. [Ex. Prelude in G minor BuxWV 149, Passacaglia in D minor BuxWV 161]
5. Cesar Franck – A titan of French music in his own time, Franck’s legacy hasn’t lasted much besides a few popular pieces. His style, especially in his orchestral output, while often powerful and inspiring, is a bit clunky for the symphonic format and simply orchestrated. Luckily, these are traits that fit well with organ writing and he wrote many great works for the instrument that were more modern than the baroque masters, but less buried in the clusters and cacophony of those who followed. [Ex. Grand Piece Symphonique]

VIOLIN

After piano, violin is the most written for of all the classical instruments. It’s flexibility, lyricism and plethora of virtuosic players makes it one of the most attractive instruments to write for. Since the Baroque era it has remained one of the most popular solo instruments as well as an integral part of the symphony orchestra. However, just because it is easy to write for, doesn’t mean that all the writing is good; even some of the greatest violin concertos have some awkward and unrewarding parts.

1. Niccolo Paganini – You don’t have to be a virtuoso to be a great writer for an instrument, but it certainly doesn’t hurt. While there are no recordings of Paganini, it is generally accepted than he was one of, if not the greatest, violinist of all time, and the difficulty of his pieces reflects that. He revolutionized the virtuosic capabilities of the instrument (much to the chagrin of all students who study him) and invented many techniques that did not exist prior. His most difficult pieces don’t always offer much in the way of musicality, but his violin concertos, caprices and many others are quite enjoyable as well as difficult. [Ex. Violin Concerto No. 2 in B minor, 24 Caprices]
2. Johann Sebastian Bach – In the midst of turning out a million choral, keyboard etc. pieces, Bach found time to write some of the greatest violin works as well. His violin concertos are appealing and widely played, his double violin concerto remains the only notable one of it’s kind, but the real reason he makes the list is for his six solo violin sonatas and partitas. They are easily the most known and studied pieces by violinists, but on top of theeir importance, the contrapuntal solo writing for the instrument remains unmatched over 300 years later (you could make an argument for Ysaye but I wont). [Ex. Chaconne from Partita No. 2, Concerto for Two Violins in D-minor]
3. Pablo de Sarasate – Another virtuoso, Sarasate was a great composer of show pieces that are extremely crowd-pleasing but not out of reach for the competent player. The Spanish style and frequent embellishments that he imbues his pieces make up for relatively simple tunes and development. And for the player they are tremendously fun to play and learn due to his intimate knowledge of the instrument and playing technique. [Ex. Zigeunerweisen, Spanish Dances]
4. Max Bruch – Bruch is, in my opinion, the greatest writer of the Romantic violin concerto. Although there are several other pieces that you can argue rival his 1st, he also wrote two more and a terrific showpiece that all are up there with the best of the era. Bruch wrote for the violin so well that while the works are flashy and sound hard, they aren’t terribly difficult, i.e. less likely to be championed by virtuosos. [Ex. Violin Concerto No. 1 in G minor, Violin Concerto No. 2 in D minor]
5. Sergei Prokofiev – Not a violinist, or even widely known for his violin works, but his writing for the instrument is thoughtful, innovative and prolific. His two violin concertos are rightfully acknowledged as some of the best of their era, but his solo/duo sonatas many chamber works and great orchestral writing push him over the rest of those I was considering for this fifth spot. [Ex. Violin Concerto No. 1 in D Major, Sonata for 2 Violins]

VIOLA

The viola is a great instrument with a unique range and tone, but has long been ignored by composers and players alike. The result is a vicious cycle of having no virtuosos to write for and having a small repertoire to play. Luckily in the 20th century more composers have found appreciation for the unique strengths of the instrument and more works highlighting them have appeared.

1. Paul Hindemith – Hindemith, as an accomplished violist, was the most vocal viola champion of the 20th century and wrote some of the greatest works for the instrument. In addition to his concerto “Der Schwanendreher”, he many chamber works around the instrument, and his Germanic, undefinable style was a perfect fit for the deep, ponderous sound of the instrument. [Ex. Der Schwanendreher, Trauermusik]
2. Georg Philipp Telemann – The most notable of all the Baroque composers for the instrument and writer of really the only major viola showpiece until the late romantic period, Telemann has earned by default a spot on this list. In addition he wrote numerous chamber and solo works highlighting the instrument (although many were written for viola de gamba). Perhaps becuase many of these works were lost for many years is why others did not think to write for the instrument for a while. [Ex. Viola Concerto in G Major, 12 Fantasias for Viola de Gamba]
3. Rebecca Clarke – A viola virtuoso, Clarke became one of the leading composers for the instrument in the early 20th century. Often compared to Debussy, her writing is impressionist but with more grit and confidence that only a virtuoso can achieve convincingly. [Ex. Viola Sonata, Passacaglia on an Old English Tune]
4. Alfred Schnittke – Like Hindemith, Schnittke is a complex German composer you might call an “acquired taste” but that just might be the type of composer who gets drawn to the viola. Writing for the virtuoso Yuri Bashmet, Schnittke produced two terrific show pieces, with the concerto being in my opinion thegreatest in the repertoire. He also put out some interesting chamber work with the instrument including a triple concerto. [Ex. Viola Concerto, Monologue for Viola and Orchestra]
5. Arnold Bax – Notable in his time as one of the greatest British symphonists, Bax is rarely played now (his style is a little too dense and brash for current tastes) but his writing is still top notch. He found a soft spot for violas and wrote several concert pieces for them in his romantic style making them a rarity, if not totally alone in the genre. [Ex. Phantasy for Viola and Orchestra, Fantasy Sonata for Viola and Harp]

CELLO

The cello is the lower registered brother of the violin, inspiring many composers with it’s deep sound and rich emotive qualities, while still capable of virtuosic lines. It’s bass role in string ensembles often causes it to be underutilized but the great composers know how to bring out it’s strengths and center stunning concert works around the instrument.

1. Antonin Dvorak – He’s well known for his masterful concerto on the instrument but he also rich history of great writing for it in chamber works and other concert pieces. Dvorak’s hearty folk-inspired melodies make sense on the cello in ways they wouldn’t on, say, the violin or other instruments that lack that deep resonance. The success of his many string quartet and trios also hinge on the solid presence of the cello that many other composers don’t take advantage of enough. [Ex. Cello Concerto in B minor, String Quartet No. 12]
2. Dmitri Shostakovich – Shostakovich’s moody, tortured style finds it’s perfect vessel in the cello and his two challenging concertos written for Rostropovich are more than proof of that. Add to that his sonata and legendary chamber works, Shostakovich added more to the cello repertoire than any of his peers and championed the instrument for a new generation. [Ex. Cello Concerto No. 1 & 2]
3. Franz Joseph Haydn – Wrote a lot of music for many types of ensembles but strings were certainly his strength and cello seems to be the instrument he understood the most. His two (surviving) concertos are some of the great early masterworks for the instrument and are still played often today. ON top of that, as the “father” of the string quartet, his development of the cello in chamber music was key to it’s future as one of the most important classical instruments. [Ex. Cello Concerto No. 1 in C Major, Cello Concerto No. 2 in D major]
4. Camille Saint-Saens – As one of the last great formalists, Saint-Saens’s style might feel a little stale compared to other’s from his era, but his works, including his magnificent cello concertos, are certainly not lacking in impact and polish. His first is a titan of the genre (his second should be also) and his many other cello-centric pieces cement his as one of the greatest romantic cello writers, alongside Dvorak. [Ex. Cello Concerto No. 1 & 2]
5. Benjamin Britten – Britten never wrote a cello concerto, but he did write a cello symphony which might be a higher tribute to the instrument. He also composed several solo suites and chamber works for the instrument. Like most thing Britten, the pieces are simultaneously jagged, beautiful and transcendent; the cello seems to fit his style perfectly. [Ex. Cello Symphony, Suite No. 1 for Cello]

DOUBLE BASS

The double bass is one of the most important orchestral instrument with it’s role as the rhythm of the strings, but writing for it is rarely interesting. It’s low register and relatively inflexibility make virtuosic lines very challenging and somewhat ineffective in an orchestral setting. There are, of course, a few composers who have played to the instruments strengths and capitalized on it’s booming sound.

1. Giovanni Bottesini – The great bass virtuoso was the first to fully realize the capabilities of the instrument, although the techniques used were so advanced for his time that most others found his pieces unplayable. Today, his bass concertos are by far the most popular of the genre. [Ex. Concerto No. 2 in B minor]
2. Serge Koussevitzky – Although primarily known more for his conducting and championing of new music, Koussevitzky was an accomplished bassist and wrote several pieces for the instrument. His concerto is one of the most performed and several of his smaller pieces in the late Romantic style fill a void that virtually none of his peers of the era ventured into. [Ex. Double Bass Concerto, Chanson Triste]
3. Sofia Gubaidulina – One of the great Russian composers of the later 20th century, Gubaidulina is a writer of striking works, that are typically both shocking and meditative; the double bass’s murky timbre is a great instrument with which to ride that ambiguous line. She never wrote a concerto for the instrument, but many of her chamber works heavily feature the bass alongside many more eclectic instruments. [Ex. Sonata for Double Bass and Piano, Ein Engel]
4. Domenico Dragonetti – Another virtuoso who came a bit earlier than Bottesini, Dragonetti was an important champion of the bass, revolutionizing the bow, its use in the orchestra and possibilities as a solo instrument. His music isn’t the most interesting but his pieces remain in the repertoire, if only due to lack of competition. [Ex. Concerto in A Major]
5. Behzad Ranjbaran – This Persian composer infuses his music with non-western influences alongside romantic form producing a touching, accessible and very unique sound. His concerto for the bass is a great achievement and should find a place in the repertoire while his other chamber works featuring the instrument explore its capabilities in ways I’ve never heard before. [Ex. Concerto for Double Bass and Orchestra, Dance of Life]

FLUTE

The highest of the woodwind family (I’m lumping in piccolo here as well), the flute has a great deal of repertoire written for it due to its range, varying colors and virtuosic capabilities. Early on it’s role was larger than just an orchestral piece, holding an important role in chamber and solo playing. It’s also worth noting that the modern flute wasn’t invented until the early 1800s, so the capabilities of the instrument were much more constrained for the composers that came before, although it was very popular in the Baroque period as well as the modern era.

1. Andre Jolivet – Pretty much all French composers in the 20th century seemed to write prolifically for flute and the other woodwinds, and Jolivet was one of the best of them at taking the instruments natural strengths and using it to create his own fresh mystical visions. He wrote for the flute in a large variety of settings including two concertos and many chamber/solo works. [Ex. Concerto for Flute and Strings, Suite en Concert for Flute and Percussion]
2. Claude Debussy – Although he didn’t write any flute concertos (he didn’t write concertos for any instrument) his use of the instrument in orchestral and chamber works was game changing. From the seductive opening of Prelude a l’apres-midi d’un faune to the masterful solo work Syrinx, Debussy redefined the flute’s sound and used it to enhance his enchanting soundscapes. [Ex. Syrinx, Prelude a l’apres-midi d’un faune]
3. Jean Francaix – Francaix was one of the most prolific composers of his era and was constantly cranking out new pieces. Most of it was for wind instruments and thankfully a lot of it was good. Flute was the one of the most common of his featured instruments and developed his distinct sound around its playful energy and lyricism. [Ex. Concert for Flute and Orchestra, Divertimento for Flute and Piano]
4. Wolfgang Amadeus Mozart – There were many great early composers for flute in the Baroque and Classical eras, but Mozart seemed to best understand the instrument’s strengths and didn’t just treat it like a violin (*ahem* Vivaldi). Although he actually didn’t care much for the instrument due to it’s small range back then, his appreciation for the flute’s sonic purity was apparent in his orchestration for the instrument. [Ex. Flute Quartet in D Major, Flute Concerto in G Major]
5. Carl Reinecke – One of the few mid-Romantic composers to really embrace the flute as a solo player, Reinecke output many concert works centering around the instrument. His flute sonata ‘Undine’ is by far his most famous work, but his concertos for the instrument are also well done, if a little old fashioned. [Ex. Sonata ‘Undine’ for Flute, Flute Concerto in D]

OBOE

The next highest in the woodwinds after the flute, the oboe is a completely different instrument in terms of sound. In the lower registers it infamously sounds like a duck, the middle range is lyrical and piercing and the higher range is shrill. On paper it doesn’t sound like the most pleasant of instruments but the variations in personality that the double reed provides makes it one of the most fascinating instruments in the entire orchestra to write for.

1. Tomaso Albinoni – Although these days he is mostly known for “Adagio in G minor” which turns out to have been written by someone else, Albinoni was an early champion for the oboe as a solo instrument and wrote some of the finest Baroque music for the instrument. For the instrument he wrote eight concertos (including some double oboe concertos) as well as featuring it in some chamber music, and rightfully became the standard for Baroque oboe writing. [Ex. Oboe Concerto in D minor, Concerto for two Oboes in C major]
2. Francis Poulenc – Poulenc’s style and output was very diverse, of course heading Les Six but also undeniably influenced by the impressionism of Ravel, but his most affective works in my opinion are his smaller scale melodies in which he used woodwinds extensively. The peak of these is his oboe sonata , which is my favorite in all the repertoire, but his writing in general for the instrument takes on a life of its own. [Ex. Sonata for Oboe and Piano, Trio for Oboe, Bassoon and Piano]
3. Eugene Bozza – Bozza is of an unheralded writer of French music from the mid-20th century and his delightful music is not as widely played as it deserves to be, especially in America. His output, especially for winds, is expansive and his writing for them is among the best across the board, but I feel his oboe writing is especially conscious of the reed’s strengths. His sonata-type works and larger wind ensembles were undoubtedly his strengths. [Ex. Sonata for Oboe and Piano, Suite Breve en Trio]
4. Bohuslav Martinu – His output was immense, but the Czech neo-classicist’s music was not sloppy or poorly thought out. While style and content varied greatly, moving from French to jazz influences and chamber to orchestral, Martinu’s music was always accessible and engaging. The oboe was a constant in his writing, not only penning one of the most significant concerti for the instrument but also featuring it in unconventional chamber groups. [Ex. Concerto for Oboe and small orchestra, Oboe Quartet]
5. Ralph Vaughan Williams – The famous English composer isn’t most known for his oboe works, and he only wrote a few pieces that featured it, but to me he utilized the instrument better than almost all. Fitting in with the folksy, pastoral style that dominated many of his works, his oboe writing explores all the ranges of the woodwind and takes advantage of its unequalled capacity for long, unbroken lines. [Ex. Oboe Concerto, Ten Blake Songs]

CLARINET

With it’s large range, virtuosic capabilities and interesting timbres, the clarinet has been one of the most popular wind instruments to be featured in concert works. It hits its highest popularity in the Classical/ late Romantic era, waned a bit in the middle of the Romantic, and picked up near the 20th century and continuing strongly to modern day there is a large repertoire of great clarinet writing in solo pieces, as well as chamber works due to how well the clarinet meshes with the sounds of other instruments.

1. Johannes Brahms – This giant of the Romantic era had success writing for pretty much instrument he endeavored to feature. While his masterworks for piano or violin are virtuosic and exciting, they are often awkward and don’t always (in my opinion) utilize the instruments best qualities. His clarinet writing on the other hand feels perfectly idiomatic and seamlessly harnesses the wind’s great strengths. His clarinet quintet and the sonatas are some of the most beautiful music he ever wrote. [Ex. Clarinet Quintet in B Minor, Clarinet Sonata No. 2]
2. Carl Maria von Weber – The great German opera composer didn’t write an awful lot for other mediums but his clarinet output was quite notable. For the virtuoso Heinrich Barmann he wrote two great concertos, the first of which is among the most famous for the instrument. In addition he wrote a few other quality pieces, including a clarinet quintet. [Ex. Clarinet Concerto No. 1 in F Minor, Clarinet Concerto No. 2 in E-flat Major]
3. Wolfgang Amadeus Mozart – Although Mozart’s concerti for the piano and violin are probably more famous, is clarinet concerto stands among the composers best of any such pieces for any instrument that he wrote. Due to the limitations of the instrument at the time, it’s not as virtuosic as modern pieces but it makes up for it in its creative exploitation of the instrument’s different ranges. His chamber works with the instrument were also masterful. [Ex. Clarinet Concerto in A Major, Clarinet Quintet in A Major]
4. Malcolm Arnold – The great contemporary English composer had success in many mediums including numerous symphonies, a large body of film work as well as many chamber pieces but his music for the clarinet particularly stands out to me. His sonatina is one of the great modern works for the instrument, switching characters at the drop of a hat and full of dazzling virtuosity. He also has two underrated concertos for the instrument in addition to other chamber works. [Ex. Sonatina for Clarinet and Piano, Concerto No. 2 for Clarinet]
5. Carl Stamitz – Stamitz was an important composer of the classical era who, like many of his peers, wrote an enormous catalogue of music. Perhaps the most notable of his compositions are his 11 clarinet concerti that he wrote with soloist Joseph Beer. His works aren’t particularly adventurous or flashy but these concerti are lots of fun with beautiful melodies. [Ex. Clarinet Concerto No. 3 in B-flat Major, Clarinet Concerto No. 7 in E-flat Major]

BASSOON

The lowest voiced member of the woodwinds (in typical orchestration at least) unsurprisingly isn’t the most popular instrument to feature, but it’s unique tone has attracted many composers since the Baroque period. It’s a more agile instrument than it looks, can be piercing thanks to the double reeds and has a big range, as Stravinsky famously exploited. Since the 20th century it has grown in popularity quite a bit but has many great works spanning centuries.

1. Heitor Villa-Lobos – His Brazilian roots mixed with European influences made Villa-Lobos one of the most unique and intriguing and popular composers of the 20th century. The first of two Brazilian composers in this ranking, something about the instrument’s playfulness and strong rhythmic pulse fits well with the distinctive style of the country’s music. His compositions for the instrument vary in scale but whether playing the lead or a more supporting role his talent for bassoon writing is clear. [Ex. Ciranda Das Sete Notas, Trio for Oboe Clarinet and Bassoon]
2. Antonio Vivaldi – Obviously Vivaldi wrote a lot of concerti for various instruments, most notably for violin, but his bassoon output was also immense. The instrument was quite different back then and significantly less agile than the modern version, but you wouldn’t know it listening to these vivacious concerti. Although being Baroque they Vivaldi is expectedly tamer in exploring the possibilities of the instrument, the music itself is wonderful and has wona strong place in the bassoon repertoire. [Ex. Bassoon Concerto in E minor RV 484, Bassoon Concerto in A minor RV 497]
3. Francisco Mignone – Although less well known than his fellow countryman, Mignone is just as creative and versatile as Villa-Lobos. His output for the bassoon was even more prolific, writing over a dozen pieces featuring the instrument. Unfortunately, like the rest of his works, they aren’t heard much outside of his home country (or bassoon classrooms). [Ex. Concertino for Bassoon and String Orchestra, Valsa Improvidasa]
4. Jean Francaix – Like his output for the flute, Francaix wrote a lot of creative music featuring the bassoon. These works are quite a bit different than those he composed for higher winds, imbuing them with new textures only the deep voiced reed can provide. The works don’t stand out a ton from the bulk of compositions but they are interesting works for bassoonists in a style that the instrument is not typically featured. [Ex. Bassoon Divertissement, Concerto for Bassoon and Orchestra]
5. Camille Saint-Saens – His writing for the instrument was not large but it is significant. The bassoon was largely neglected in the romantic era and Saint-Saens was one if it’s very few champions. His sonata for bassoon is one of the most played in all the repertoire, and interestingly it doesn’t sound a lot like the rest of his works, despite the casual virtuosity of the piano, instead resembling the music of French composers to come, such as Poulenc. [Ex. Sonata for Bassoon and Piano]

FRENCH HORN

Jumping into the brass, the french horn is the and always has been the core of the brass sound in the orchestra. Their range is quite large and they can be quite virtuosic. What sets them apart from the other brass, however, is the ability to blend their tone easily with the rest of the orchestra, even in smaller chamber groups like the standard wind quintet. As a solo instrument they actually have a solid repertoire dating back to the baroque era despite the instrument not adding valves (to change keys) until much later.

1. Richard Strauss – Strauss is typically more thought of for his large scale orchestral works and operas but he was a frequent composers of concertos as well, even if they aren’t played very often. His horn concertos, however, are mainstays of the instruments repertoire. As he was a talented horn player himself, he understood the instrument’s capabilities and voices better than most, also giving them featured roles in his orchestral works. [Ex. Concerto for French Horn and Orchestra No. 1, Til Eulenspiegel’s Merry Pranks]
2. Wolfgang Amadeus Mozart – Despite the limitations of the instrument at the time, Mozart still managed to write one of the most famous concertos for the horn, as well as a few other great ones. As to be expected, it isn’t the most adventurous piece written for the instrument but it still has its challenges as well as universal appeal. He also incorporated them into his symphonies well, sometimes even including four horns. [Ex. Horn Concerto No. 4 in E-flat, Horn Concerto No. 3 in E-flat]
3. Paul Hindemith – Hindemith wrote for pretty much every instrument in chamber or solo format but horn was one that he kept coming back to. His pieces are challenging but don’t have the typical virtuosic embellishments, instead using his unique tonality and fugal structures. His chamber works in particular are not very accessible so they are an acquired taste but very rewarding when you crack them. [Ex. Horn Sonata, Horn Concerto, Sonata for Four Horns]
4. Ludwig van Beethoven – While later composers (Mahler, Bruckner, Wagner) whose huge, bombastic works heavily featured the horn could also be put on this list, Beethoven handled the instrument with great tact, featuring it in many triumphant fanfares and beautiful solos, as well as some great chamber works with the instrument. [Ex. Symphony No. 3, Sonata in F Major for Horn and Piano]
5. Robert Schumann – Schumann isn’t who you’d first think of when you think of the horn but not only did he write for them quite well in his symphonies, he wrote many great works featuring them, both chamber and orchestral. They aren’t played very often, which is a shame, but his horn writing certainly influenced those who came after, such as Brahms, and is an interesting look into early romantic stylings for the instrument. [Ex. Konzerstuck for Four Horns and Orchestra, Adagio and Allegro]

TRUMPET

The highest instrument in the brass family, trumpets are famous for their power and versatility, from triumphant fanfares to agile solos. Like the other older brass instruments, trumpets did not have valves so each instrument was able to play in one key, but in the romantic period it’s capabilities, and hence the writing for it, grew immensely. Interestingly, the modern trumpet’s register is lower than it’s baroque version, making some of the older works still very difficult.

1. Gustav Mahler– There are a lot of great Romantic composers who found success featuring the trumpet in orchestral works but none did it more memorably or with more impact than Mahler. Most notably, his use of fanfares is unforgettable in his symphonies, acting as symbolic forces imposing their will, but his writing can also be more obscure, lyrical and mysterious, fully realizing the varied capabilities of the instrument. [Ex. Symphony No. 5, Symphony No. 3 in D Minor]
2. George Frideric Handel – The usual suspects of the Baroque era (Bach, Albinoni, Telemann) made great use of the trumpet in numerous concertos but in my opinion Handel used it the best. Not only did he write many concertos for the instrument, but also he featured it in his great larger-scale works and oratorios. His writing is some of the greatest examples of regal, baroque trumpet writing. [Ex. Water Music, Messiah]
3. Peter Ilyich Tchaikovsky – Like Mahler, Tchaikovsky has famous excerpts of trumpet fanfares from his symphonies and overtures that add to the force and majesty of his works. While his writing is perhaps a bit less nuanced than some, his great use of it in solo lines, especially in his ballets, puts him in the upper echelon of trumpet composers, despite never writing a concerto, etc. for the instrument. [Ex. Symphony No. 4 in F Minor, Swan Lake]
4. Peter Maxwell Davies – Davies became one of the most prominent contemporary composers due to his jarring but still accessible sounds and implementation of historical themes. Through in generous uses of extended techniques, trumpet is a great vessel for his music, conveying excitement, mystery, and eeriness all rolled in to one. Not only is his orchestral writing features the high brass well, but he wrote many solo and chamber works for the trumpet. [Ex. Sonata for Trumpet and Piano, Concerto for Trumpet and Orchestra]
5. Karlheinz Stockhausen – Another titan of contemporary music, Stockhausen is considerably more out there compared to Maxwell Davies but even if you don’t care for his music, there’s no doubt he pushed the boundaries for the trumpet and championed it as a featured instrument more than almost anyone. His writing for it spans numerous ensembles, including solos, trumpet quartets and, of course, mixing it with electronics. [Ex. Oberlippentanz (really the entire ‘Licht’ cycle), Harmonien from Klang]

TROMBONE

The trombone is the versatile middle voice in the brass family, equally capable of booming out a bass line as it is playing a beautiful solo or rapid, virtuosic passage. It’s design is also completely unique, utilizing a moveable slide instead of valves to traverse keys. While the instrument has been around for quite a while, it was rarely used and typically relegated to support roles in works until Beethoven incorporated it into some of his major symphonies. Since then, it became an integral part of the orchestral brass as well as developing into a formidable solo and chamber instrument.

1. Nikolai Rimsky-Korsakov – One of the leaders of the “Russian 5”, Rimsky-Korsakov brought “new” sounds to Western Music by utilizing traditional Russian themes, and by heavily utilizing the trombone he further set himself apart form the typical fare. Not only did he compose one of the greatest concerto’s for the instrument but also frequently featured it in his orchestral writing. It also helps that he is one of the few major composers who could actually play the instrument. [Ex. Concerto for Trombone and Military Band, Russian Easter Overture]
2. Hector Berlioz – Much like his idol Beethoven, Berlioz was an early champion of the trombone in the orchestra and boasts some of the greatest writing for the instrument of his era. He understood the power and versatility of the trombone in relation to the orchestra and how to use it to elevate the grandiose nature of his music. [Ex. Symphonie Fantastique, Grand Messe des Morts]
3. Richard Strauss – While not as fantastic as his writing for the french horn, Strauss’s composing for the trombone was wildly inventive and heavily featured it in his epic orchestral works. Like almost all his writing, it is quite difficult as well as heavily Romantic creating not only great challenge for the player but making it worthwhile as well. [Ex. Ein Heldenleben, Also Sprach Zarathustra]
4. Toru Takemitsu – Takemitsu was one of the most unique composers of the 20th century, mixing modernist theory with eastern philosophies resulting in entirely new sounds and music. While he is more known for his fusing of traditional Japanese instruments with Western styles, his more “typical” avant-garde fare is just as effective and this is where he makes great use of trombone, in chamber and solo settings. [Ex. Fantasma, Gemeaux]
5. Ludwig van Beethoven – As mentioned previously, Beethoven was largely responsible for cementing the trombone in the symphony orchestra so naturally he had a high opinion of the instrument and a good realization of how to effectively use it in his symphonies, as well as one chamber piece. While his writing is certainly not as adventurous or bombastic as others on this list, it is highly effective in his works and hugely influential for those to come. [Ex. Symphony No. 5 in C Minor, Symphony No. 9 in D Minor]

TUBA

The tuba is the lowest of the brass, providing the deep foundation to the orchestra. Like the double bass, it is typically relegated to playing stable rhythms on top of which the rest of the orchestra thrives. Due to its low register and relative lack of agility, composers naturally looked other places when choosing instruments to highlight but occasionally someone would come along and tap into the unique aspects of the deep brass. While these works are not always the most popular with audiences, some have been championed by appreciative virtuosos and taken into the repertoire.

1. Ralph Vaughan Williams – One of England’s most iconic composers was a master at writing for all the instruments in the orchestra but Tuba was one of the few for which he actually wrote a concerto. It has since become by far the most played of all the concerti for the instrument, with more virtuosic and lyrical passagework than had previously been seen for the tuba. His symphonies also utilize the instrument to great effect in their bombastic sections. [Ex. Concerto in F minor for Bass Tuba and Orchestra, Symphony No. 4 in F minor]
2. Richard Wagner – The most influential figure in the late Romantic period, maybe in all of music, is well known for his epic operas and the music from them is equally famous. While the leitmotif might be his most substantial contribution to the craft, it’s his fantastic brass fanfares that have cemented his place in the concert halls. Horns and trumpets may shine the brightest in these works, but the low brass fortified by mighty tuba writing are the key to why they are so awe inspiring. [Ex. Die Walkure, Die Meistersinger von Nurnberg]
3. Anton Bruckner – Similar to Wagner, Bruckner was famous for his large scale, epic music but instead of operas he’s most remembered for his titanic symphonies. These works, often very long and with repetitive elements, can be polarizing to some but the way they build to intense climaxes was very influential to his fellow composers, especially those who wrote movie music later on. This was possible due to his effective and discerning use of the tuba, using it to build the power from the bottom of the orchestra. [Ex. Symphony No. 4 in E-flat, Symphony No. 8 in C minor]
4. Silvestre Revueltas – One of the most famous Mexican composers, although still too infrequently played in the concert hall, Revueltas was a master of rhythm, but also thrived at using unconventional orchestration, including often the tuba. His masterpiece Sensemaya uses it as the backbone for an increasingly complex texture of rhythms while his chamber work Homenaje a Federico García Lorca features it among an odd assortment of instruments. [Ex. Sensemaya, Homenaje a Federico García Lorca]
5. Gustav Mahler – Another late Romantic composer of titanic symphonic works, Mahler knew how to use the tuba expertly as the backbone of the orchestra. He didn’t typically feature it lyrically, but few did back then. Instead he stuck to utilize the instruments strengths, leading towering brass chorales in some of the most impactful finales in western music. [Ex. Symphony No. 2 in C Minor, Symphony No. 6 in A minor]

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