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Although the first movement is mostly in the conventional sonata form, Mendelssohn has the first theme played by the solo violin and then by the orchestra. Classical concertos typically opened with an orchestral introduction followed by a version of essentially the same material that incorporates the soloist.
The Violin Concerto in D major, Op. 61, was written by Ludwig van Beethoven in 1806. Its first performance by Franz Clement was unsuccessful and for some decades the work languished in obscurity, until revived in 1844 by the then 12-year-old violinist Joseph Joachim with the orchestra of the London Philharmonic Society conducted by Felix Mendelssohn.
The development in measure 69 begins with the same texture as the opening of the movement—with the 2nd violin, viola, and cello sustaining a chord while the 1st violin plays a solo on top. The first chord, sustained from bars 69–72, is a D minor chord, the relative minor of the dominant, F major.
This movement is a set of variations, written in D minor; the first variation is a duet between viola and second violin, and the third variation is a solo for cello. According to Tovey, much of this equality of voices is achieved through the use of counterpoint.
Menuhin played the work often in recital, and made three recordings of it. The first was made immediately after the New York premiere, with him conducting the RCA Victor String Orchestra (his conducting debut on record), the second made the following year with Sir Adrian Boult and the Philharmonia Orchestra, and the last in 1971 with Rafael ...
The Violin Concerto in D major, Op. 77, was composed by Johannes Brahms in 1878 and dedicated to his friend, the violinist Joseph Joachim. It is Brahms's only violin concerto, and, according to Joachim, one of the four great German violin concerti: [1] The Germans have four violin concertos. The greatest, most uncompromising is Beethoven's. The ...
The first violin's unrestrained melody is played against a strictly serialized melody played by the other three instruments. In some analyses, the orderly-patterned serial voice is regarded as more “rational” and “masculine”, while the first violin’s individuality is more “assertive” and “feminine”. [7]
The simple melody, with the pulsing accompaniment in second violin and viola, does indeed recall spirituals or Indian ritual music. It is written using the same pentatonic scale as the first movement, but in the minor (D minor) rather than the major. The theme is introduced in the first violin, and repeated in the cello.