The romantic period was naturally the time for great pianoforte concertos. Weber, in his two concertos, in C and E flat, and in his _Concertstück_ for piano and orchestra, foreshadowed the spirit of great concertos that followed, though his technique was still one of transition. Mendelssohn’s concerto in G minor was for years the most popular of show pieces in conservatories, though it has since largely dropped out of use. (His _Capriccio_, however, is still familiar and beautiful.) But the great concerto of the period, and one of the great ones of all time, was Schumann’s in A minor. This was originally written as a solo piece of moderate length, but broadened into a concerto of three distinct though joined movements, each representing the best of Schumann’s genius. No concerto ever conceded less to mere display, or maintained a more even standard of musical excellence. And to-day, though the technical brilliance is somewhat dimmed by comparison with more modern works, the idealistic sincerity of the lovely concerto speaks with unlessened vigor. Numerous other concertos for pianoforte were composed and were popular in the period we are discussing, but most of them have dropped out of use, except for the instruction of conservatory students. Among them we may mention the concerto in F minor by Adolph Henselt (1814-1889), one of the famous virtuosos of the time, whose work is exceedingly pianistic, elaborate and graceful, but somewhat pedantic and lacking in force; that in A flat by John Field (1782-1837); that in C sharp minor by Ferdinand Ries (1784-1838); that in F minor by Sterndale Bennett (1816-1875); that in F sharp minor by Ferdinand Hiller (1811-1885), a famous virtuoso of the time, who was closely identified with the work and activities of some of the greatest composers; and that in G minor by Joachim Raff (1822-1882). Chopin’s two concertos, composed in his earliest years of creative activity, are uneven, but in parts reveal the genius of their composer and justly maintain their somewhat limited popularity in modern concerts.