Hector Berlioz’s “Harold in Italy” (viola and orchestra). Leonard Bernstein’s Symphony No. 2 “The Age of Anxiety” (piano and orchestra). Benjamin Britten’s Cello Symphony. These genre-bending works break all the rules. Are they symphonies or concertos?

We won’t be hearing any of these this Thursday morning on WPRB, though we will be listening to a full playlist of “concertos” for orchestra and “symphonies” for orchestra with prominent part for solo instrumentalist.

Generally speaking, the concerto for orchestra is a large-scale piece in which the various sections of an orchestra are each given an opportunity to shine. The symphonies with a prominent solo instrument? Well, there is really is no rule for that. Why Vincent d’Indy’s “Symphony on a French Mountain Air,” for piano and orchestra, is not a concerto is anyone’s guess, beyond the French custom, usually applied to organ works, of calling concertos symphonies. Call it Gallic contrarianism, if you will.

Highlights of the morning will include music by one-time Classic Ross Amico guest Zhou Tian, whose Concerto for Orchestra has been nominated in the category of “Best Contemporary Classical Composition” for this year’s Grammy Awards; organ “symphonies” by Alexandre Guilmant and Aaron Copland; a concerto “symphonique” for piano and orchestra by Henry Charles Litolff; and a “symphony” for solo piano by Charles-Valentin Alkan.

Prepare yourself for identity crises and plenty of disorientation, this Thursday morning from 6 to 11 EST, on WPRB 103.3 FM and wprb.com. Then, why should things be different this week from any other, on Classic Ross Amico?