Let’s continue onwards with the Mozart’s fourth violin concerto. Yesterday had some surprising moments in the second and thirds movements especially, so I don’t know what to expect with today’s.

The Recording

Same as yesterday. I’m listening to Nikolaus Harnoncourt lead the Vienna Philharmonic with Gidon Kremer on solo violin.

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Sheet Music

Violin Concerto no. 4 in D, K. 218

1. Allegro

• Stately arpeggio opening.
• Lots of rhythmic variety in orchestra exposition.
• Lots of dissonances on the beat that resolve on the second note.
• Very active solo.
• Strings get a lot of variety. Horns and woodwinds less so.
• Lots of showing off.
• Some nice imitative entrances between all instruments.
• Again: thrilling cadenza from Mr. Kremer.

2. Andante cantabile

• Very sentimental. Pretty melodies. Emotional dynamic swells. Active orchestra. Pathetique in a sense.

3. Rondeau (Andante grazioso – Allegro ma non troppo)

• Andante grazioso goes by very quickly.
• Light melodies and rhythms. Very charming.
• Ah, and back to the Andante grazioso. So he’s using the rhythmic changes as part of the rondeau structure.
• Exciting buildup to the modulation to minor, as brief as it lasts.
• Ha. Some funny effects from the soloist during the third time in Andante grazioso.
• These performers are exaggerating some funny aspects of this piece. I’m not sure if some of their choices are common practice for this.
• It is a humorously assembled movement…
• Oh yea, the ending sounds like it’s going to be a blow out, and then it fades into nothingness. This is what Mozart was going for.

Takeaways

Again, this is a solid concerto with some surprised, and there’s a lot of that characteristic Mozart humor. I’ve spent the day working on my taxes, so I’m very grateful for it. The first movement is solid, though it feels like a bit of a warmup. The second is very emotional, though it’s not especially heavy. The third uses instrument effects and structural choices to give it an air of levity and occasional outright humor.

Until next time.

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.

The Recording

Same as yesterday. I’m listening to Nikolaus Harnoncourt lead the Vienna Philharmonic with Gidon Kremer on solo violin.

Apple Music

Spotify

Sheet Music

Violin Concerto no. 3 in G, K. 216

1. Allegro

• 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.

2. Adagio

• 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.

Takeaways

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.

Let’s stick with his violin concerti. I’m very curious how his five of them developed over time.

The Recording

Same as yesterday. I’m listening to Nikolaus Harnoncourt lead the Vienna Philharmonic with Gidon Kremer on solo violin.

Apple Music

Spotify

Sheet Music

Violin Concerto no. 2 in D Major, K. 211

1. Allegro moderato

• Light orchestra. Oboe and horns only in addition to strings.
• Bouncy ebullient music.
• Lots of real back and forth between string orchestra and soloist.
• Very pleasant movement. Almost pastoral though not overtly so.

2. Andante

• Light.
• With dramatic swells. Lots of feeling in this.
• Some really delicate moments.
• Long stretches without lower voiced instruments. It all hovers in the air.

3. Allegro

• Dance-like feeling.
• Delicate and refined virtuosity from soloist.
• Though surprisingly mild for the final movement.

Takeaways

This is a perfectly pleasant and enjoyable piece of music, but I didn’t perceive anything that was radically surprising about it. The whole piece felt very refined, mild even, though there were sections during the second movement that were very affecting.

If there was anything that caught my ear compositionally, it was the careful combined efforts of the orchestra string sections and the soloist. There were some very good effects – most notably in the first and second movements – that would have been impossible without that collaboration. I enjoyed that part of the piece very much.

Until next time!

Time for a new genre! Having heard a lot of strings over the course of this project, I’m curious how Mozart handled a solo player who could really show off a bit.

The Recording

I’m listening to Nikolaus Harnoncourt lead the Vienna Philharmonic with Gidon Kremer on solo violin.

Apple Music

Spotify

Sheet Music

Violin Concerto no. 1 in B Flat Major, K. 207

1. Allegro moderato

• Very active orchestra.
• Horns quite prominent.
• Pretty virtuosic from start.
• Long sequential pattern in development.
• Orchestral build up to cadenza is thrilling if brief.

2. Adagio

• Slow but active orchestra. Violas and second violins keep this movement going.
• Really backs off for entrance of soloist.
• Melody is fine, but it’s really the overall color of the piece – the little touches here and there – that make this interesting. There’s a lot happening.

3. Presto

• Check out passed accompaniments between orchestral strings. Cool.
• Yay, woodwind interjections.
• Lots of fireworks from soloist.
• There are a few Ethel Merman-type downward shooting intervals. Ha.

Takeaways?

I don’t think there’s much that’s really surprising her, but it is an enjoyable piece. The one thing that surprised me was how mature the back and forth between the soloist and orchestra was. The soloist got to play some fun things, but I mostly paid attention to the activity of the orchestra, which provided a lot of musical depth throughout the concerto.

Until next time.