The last four of Mozart’s five violin concerti were written in 1775, so I’m now wondering what stylistic differences they’ll have at all. Or at least, what kind of growth and development of Mozart as a composer do we see in half a year’s time? The first two were already mature works, so let’s see what number three is like.
Same as yesterday. I’m listening to Nikolaus Harnoncourt lead the Vienna Philharmonic with Gidon Kremer on solo violin.
Violin Concerto no. 3 in G, K. 216
- Same orchestra forces as the second concerto.
- Again, nice dialogue between soloist and orchestra.
- Accompaniment styles are varied and interesting.
- Development has some good call and response-type moments.
- As ever, pleasant woodwind interjections.
- Some very nice melodies for the soloist. Almost operatic near end of development.
- Terrific cadenza from Mr. Kremer.
- Strings using mutes.
- Bass voices using pizzicato.
- Beautiful melody and overall atmosphere.
- Three against two rhythm provides some tension.
- Yup. Whole movement is exquisite.
3. Rondeau – Andante – Allegretto
- Virtuosity balanced by that Mozart refinement. But it’s often very exciting.
- Some sections sound very eastern European.
- Tempo changes have very different music, and they’re pretty short so they’re a burst of contrast. The Andante features pizzicato in the orchestral strings and a very different mood.
- One measure where the soloist plucks an open string while bowing other notes.
- Piece sort of fades out. Mozart had used a transition effect several times before where the horns and winds play alone and very quietly right before a new section.
- Lots of modulations.
This is another enjoyable piece. I found the second and third movements to be the real prizes here, though the Allegro first movement is perfectly good as well. The third is especially daring and creative.
Until next time.