Sorry, your browser either has JavaScript disabled or does not have any supported player.You can download the clip or download a player to play the clip in your browser. Mendelssohn also wrote a virtuoso Concerto for Violin and String Orchestra in D minor between 1821 and 1823, when he was 12 to 14 years old, at the same time that he produced his twelve string symphonies. It is hard to imagine what they felt, trained as audiences are today to remain silent between movements. Mendelssohn basically killed the improvised cadenza, making the concerto truly its composer’s work, without undue “input” from the performer. I wasn’t aware of the similarity to "I Don’t Know How to Love Him" until my mum said she kept hearing it! Although the concerto consists of three movements in a standard fast–slow–fast structure and each movement follows a traditional form, the concerto was innovative and included many novel features for its time. For Clifford, the final movement is a balancing act: Apart from the more technical aspects that are hard, I also find it challenging to keep the chamber-music-like interactions between the solo violin and (especially) the woodwinds, yet remembering to play out enough to keep the clarity. Composers of the classical and romantic eras frequently hid surprises in their concertos. The orchestra returns and the violin-horse gallops away over the hills of the first theme played by the flutes, oboes, and first violins. Isaac Stern is a good proponent of the piece, not showing off or putting himself in front of the composer.His version of the Concerto with Ormandy and the Philadelphia Orchestra (1959) is a solid and optimistic version, with a good recording for its age and good partnership, especially in the slow movement. The main theme of the second movement is the type of lilting “song without words” for which Mendelssohn is well known. Mendelssohn’s Violin Concerto influenced the concertos of many other composers, who used aspects of the concerto in their own. 2 sellers. It’s challenging to keep the movement on its toes and light, yet articulated, and not unstable (running away!). Did they think the bassoonist had lost their place? In a letter dated 30 July 1838, Mendelssohn wrote to David: “I should like to write a violin concerto for you next winter. At the end of the cadenza the violinist plays ricochet bowing, letting the bow skip across the strings with just enough bite to pick out each note along the way (bar 332, 9:35). The bassoon sustains its B from the final chord of the first movement before moving up a semitone to middle C. This serves as a key change from the E minor opening movement into the lyrical C major slow movement. Moreover, following this concerto it was very rare for a composer to leave a cadenza unwritten, for the soloist to improvise, as in the days of Mozart and Beethoven. The piano reduction – a revised version of the one that accompanied the first edition – lies well under the fingers while remaining as faithful as possible to the original text. The work has developed a reputation as an essential work for all aspiring violin virtuosi to conquer. In February 1877, Pyotr Ilyich Tchaikovsky claimed that he could compose only "weak and rotten little themelets." Felix Mendelssohn’s Violin Concerto in E minor, Op. The tune is played by the solo violin itself before a short codetta ends the exposition section of the opening movement. It forms an important part of the violin repertoire and is one of the most popular and most frequently performed violin concertos of all time. The orchestra then plays a variation of the opening melody, after which the music moves into a short development section in G major. The opening exposition leads into a brief second B major theme which is played by the soloist and builds to a series of rapidly ascending and descending arpeggios, reminiscent of the cadenza from the first movement. Mendelssohn first conducted the concerto on 23 October 1845 again with Ferdinand David as soloist. Were they frustrated at what they thought was a prank at their expense? The linking of the three movements also influenced other concertos, such as Liszt’s Second Piano Concerto. For this Deep Listen, the violinist Grace Clifford shared some hints on how she tackles this fixture of the violin repertoire. Niki Vasilakis with the Tasmanian Symphony Orchestra. Distinctive aspects include the almost immediate entrance of the violin at the beginning of the work (rather than following an orchestral preview of the first movement’s major themes, as was typical in Classical-era concertos) and the through-composed form of the concerto as a whole, in which the three movements are melodically and harmonically connected and played attacca (each movement immediately following the previous one). ABC Classic FM will broadcast Grace Clifford's performance of the Mendelssohn Violin Concerto as part of the concert Grace and Grandeur by the Adelaide Symphony Orchestra from 7pm on Saturday 2 June, 2018. Timecodes refer to the recording by Niki Vasilakis with the Tasmanian Symphony Orchestra on ABC Classics. The concerto was first performed in Leipzig on 13 March 1845 with Ferdinand David as soloist. The third movement begins with a plaintive violin melody accompanied only by the string section. There are many possible reasons for the delay, including self-doubt, his third symphony and an unhappy period in Berlin after a request from King Frederick William IV of Prussia. This work was “rediscovered” in 1951 by Yehudi Menuhin. This too was novel for a violin concerto of its time. The concerto also features playful innovations that would have shocked—or delighted—the audience at its premiere in 1845. Felix Mendelssohn’s Violin Concerto in E minor, Op. Mendelssohn Violin Concerto – From Mono to Stereo and Digital. Concertos usually begin with the whole orchestra playing the principal themes before they are restated by the soloist. Although the first movement is mostly in sonata form, Mendelssohn has the first theme played by the solo violin and then by the orchestra. This is not the concerto’s second theme, but a transition theme that is even longer than those it connects. The concerto then concludes with a frenetic coda. If you wish to follow this listening guide with a score, you can view one here. He extended the cadenza before its premiere in consultation with Ferdinand David, the virtuoso violinist for whom he wrote the concerto. The expansive second theme is decorated with double-stops, where the violinist plays two notes at once, even playing melody and accompaniment at the same time (bar 52, 3:52). Mendelssohn, then conductor of the Leipzig The theme to the darker, middle section in A minor is first introduced by the orchestra before the violin then takes up both the melody and the accompaniment simultaneously. This has led to the concerto becoming virtually ubiquitous in the discography of concert violinists, even including those who were only active at the very dawn of recorded sound and of whom very little recorded music exists, such as Eugène Ysaÿe. All rights reserved. This leads into the lively and effervescent finale, the whole of which is in E major and whose opening is marked by a trumpet fanfare. A presto coda brings the movement to a triumphant conclusion, or almost (473, 13:24). Details. Allegretto non troppo – Allegro molto vivace. But the most inward, the heart’s jewel, is Mendelssohn’s. Many professional violinists have recorded the concerto and the work is regularly performed in concerts and classical music competitions. Audiences love Mendelssohn’s Violin Concerto in E minor for its warmth and frequent pyrotechnics. 15.30 EUR - Sold by Woodbrass Pre-shipment lead time: On order. It holds back, accompanying the clarinets with a single long, low note. The flutes and oboes belt out the transition theme before the calm second theme returns in a moment of blissful repose (377, 10:37). In the first movement alone, Mendelssohn departs from the typical form of a Classical concerto in many ways, the most immediate being the entry of the soloist almost from the outset, which also occurs in his First Piano Concerto. Original cadenza from the autograph manuscript of Mendelssohn's Violin Concerto. The cadenza begins with trills, arpeggios, and chords with the pensive gravity of a prelude by J. S. Bach.