Title: Introduction and Concert Allegro (Schumann)
Content:  The Introduction and Concert Allegro is scored for solo piano, pairs of flutes, oboes, clarinets in B and A, bassoons, horns, and trumpets, trombone, timpani and strings.  
Title: Introduction and Allegro (Ravel)
Content:  It is written in the key of G-flat major and it is the first piece to explore and exploit the full resources of the solo instrument. It is sometimes described as a miniature concerto, but it is more usually classified as a genuine chamber music work. The Introduction and the Allegro are played without a break. The Introduction, Très lent, takes only 26 bars. The Allegro in a modified sonata form begins with the solo harp expanding the material presented before. The woodwinds expose a second theme, accompanied by pizzicato. After a fortississimo climax in the development, a harp cadenza leads to a "straightforward" recapitulation and a close "without extensive fireworks or bombast of any kind". The work takes about 11 minutes to perform.
Title: Introduction and Allegro appassionato (Schumann)
Content:  The Introduction and Allegro appassionato is scored for solo piano, pairs of flutes, oboes, clarinets in B, bassoons, horns, trumpets and timpani, and strings.
Title: Introduction and Allegro (Elgar)
Content:   Sir Edward Elgar's Introduction and Allegro for Strings, Op. 47, was composed in 1905 for performance in an all-Elgar concert by the newly formed London Symphony Orchestra. Scored for string quartet and string orchestra, Elgar composed it to show off the players' virtuosity. Though initial critical reception was lukewarm at best, the score soon came to be recognized as a masterpiece. The work, which is roughly twelve to fourteen minutes in length, is like a multi-layered symphonic poem for string orchestra, with several prominent themes. The work is dedicated to Samuel Sanford, who had been instrumental in having Elgar awarded an honorary doctorate of music at Yale University on 28 June 1905, where the Pomp and Circumstance March No. 1 was played for the first time at such a conferral ceremony.
Title: Introduction and Allegro (Ravel)
Content:  Introduction and Allegro for Harp, Flute, Clarinet and String Quartet (Introduction et allegro pour harpe, flûte, clarinette et quatuor) was written by Maurice Ravel in 1905. It premiered on 22 February 1907 in Paris.
Title: Introduction and Allegro appassionato (Schumann)
Content:  The Introduction and Allegro appassionato (Konzertstück) for piano and orchestra in G major, Op. 92, was composed by Robert Schumann in September 1849. It received its first performance in Leipzig on February 14, 1850, with Clara Schumann at the piano with Julius Rietz conducting. The work was published in 1852. The work takes around 15 minutes to perform.
Title: Introduction and Allegro (Elgar)
Content:  Introduction and Allegro was composed in a neo-resurrected form of the Baroque concerto grosso. However, such solos are not confined solely to the solo quartet, but rather are distributed ever so often among the accompanying orchestra, such as at the first transition entering the Allegro. The solo quartet, however, often blend back into the orchestra, but rarely play exactly the same notes as the accompanying orchestra. Polyphony dictates much of the piece, often with multiple themes or motifs interleaving with one another. Since polyphony is the most complex of all musical textures, it comes as no surprise that Introduction and Allegro is an attempt to show the virtuosity of each musician performing the piece. Much of the piece focuses on the tremendous virtuoso-technicalities within the violin parts. After all, the piece "fully [reflects] Elgar's first-hand knowledge as a former violinist himself". This however adds complications in the lower-frequency instruments, particularly in the bass part, which can clearly be seen as one of the most challenging of string orchestra repertoire. This, however, could be Elgar reminiscing to the Baroque concerto grosso form, in which the cello and bass parts are sometimes the same.
Title: Introduction and Allegro (Ravel)
Content:  To showcase its new chromatic harp, the Pleyel company commissioned Claude Debussy in 1904 to write his Danse sacrée et danse profane for harp and orchestra. The Érard company responded by commissioning Maurice Ravel to write a piece to display the expressive range of its double-action pedal harp. Ravel completed his Introduction and Allegro for a septet of harp, flute, clarinet and string quartet in June 1905, dedicating it to Albert Blondel, director of Maison Érard. He wrote it at breakneck speed, as he had to complete it before embarking on a boating holiday with friends. Ravel omitted the Introduction and Allegro from the catalogue of his works, made no mention of it in his autobiography, and referred to it in only two of his letters. Nevertheless, it was often performed at his concerts and it was the very first of the small number of his own works that Ravel recorded (1923; Gwendolen Mason, harp; Robert Murchie, flute; Haydn P. Draper, clarinet. ) In 1906 Ravel wrote a version for two pianos. In a letter to Désiré-Émile Inghelbrecht on 26 February 1911, Ravel sanctioned the work being arranged for larger forces.
Title: Introduction and Concert Allegro (Schumann)
Content:  Robert Schumann's Introduction and Concert Allegro (Konzert-Allegro mit Introduktion) in D minor for piano and orchestra, Op. 134, was one of his last works. Composed in 1853, Schumann gave the autograph score to his wife, Clara Schumann, as a birthday gift; she would give the first performance on 26 November. The work is dedicated to Johannes Brahms, and a typical performance is 13–14 minutes long.
Title: Symphony No. 37 (Mozart)
Content:  much earlier than 1783" if Mozart had been the one to write it. The introduction was probably composed in late 1783 to be performed in the same concert in Linz in which Mozart's Symphony No. 36 received its premiere. Mozart's Adagio maestoso introduction in triple time ends with a fermata on a V7 chord, which leads into a tonic chord beginning Haydn's work. Georges de Saint-Foix considers the introduction "an expressive prelude, which, moreover, is by no means entirely in key with the movement it is intended to prepare."  Mozart did not copy the rest of the work verbatim: he removed a bassoon solo from the middle Andante sostenuto 

Question: Who was the composer of Introduction and Allegro?
Answer: Maurice Ravel.
Joseph-Maurice Ravel.
Maurice Joseph Ravel.
Joseph Maurice Ravel.