The Baroque genre that comes closest to the Classical sinfonia concertante is the concerto grosso; among the most famous of these are those by Arcangelo Corelli and George Frideric Handel.
Mozart, who likely heard the early Sinfonia concertantes of Bologne, was also acquainted with the Mannheim school from 1777 and probably aware of J.C. Bach's publications.
His most successful are the following: Joseph Haydn also wrote a Sinfonia Concertante for Violin, Cello, Oboe and Bassoon during his visit to London, as a friendly challenge to his former student Ignaz Pleyel.
[citation needed] Ludwig van Beethoven did not write anything designated as a sinfonia concertante, although some feel his Triple Concerto qualifies for inclusion in the genre.
[citation needed] By the end of the 19th century, several French composers had started using the sinfonia concertante technique in symphonic poems, for example, Saint-Saëns uses a violin in Danse macabre, and Franck a piano in Les Djinns.
[citation needed] Richard Strauss's Don Quixote (1897) uses several soloists to depict the main characters, namely cello, viola, bass clarinet and tenor tuba.
[citation needed] A work in the same vein, but with the piano taking the "concertante" part is d'Indy's Symphony on a French Mountain Air.
[citation needed] Ferruccio Busoni wrote an enormous piano concerto in C major, containing five movements, lasting over an hour and even finishing with a male choir, that can be considered a sinfonia concertante.
[citation needed] In the 20th century, some composers such as George Enescu, Darius Milhaud, Frank Martin, Edmund Rubbra, Florent Schmitt, William Walton and Malcolm Williamson again used the name sinfonia concertante for their compositions.
[citation needed] Peter Schickele as P. D. Q. Bach produced a spoof "Sinfonia Concertante" utilizing lute, balalaika, double reed slide music stand, ocarina, left-handed sewer flute, and bagpipes.