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The cupola of Madonna dei Miracoli in Saronno, with angels playing violin, viola and cello. The first clear record of a violin-like instrument comes from paintings by Gaudenzio Ferrari. In his Madonna of the Orange Tree, painted in 1530, a cherub is seen playing a bowed instrument which clearly has the hallmarks of violins.
The violin is primarily used as support for a vocalist, as the sound of a violin complements that of the singer, but is also largely played solo. In solo violin concerts, the violinist is accompanied by percussion instruments, usually the tabla, the mridangam and the ghatam. The violin is also a principal instrument for Indian film music. V.
The first movement begins passionately, with the theme first played by the violin and amenable like so many of Schumann's themes to canonic treatment; Schumann once remarked on this fact himself. This theme serves to introduce a compact, driven sonata form pushed ahead by economical use of rhythms (new themes often are based on some of the same ...
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.
Schubert Trio in E-flat, second movement, bars 86–89 Schubert Trio in E-flat, second movement, bars 86–89. The concluding bars of the movement ring the changes in instrumentation yet again, adding further ideas, such as the falling octave figure in the first and final bars, while varying and enriching the harmony and instrumental color.
A man playing the violin on a park bench. The violin is played either seated or standing up. Solo players (whether playing alone, with a piano or with an orchestra) play mostly standing up (unless prevented by a physical disability such as in the case of Itzhak Perlman). In contrast, in the orchestra and in chamber music it is usually played ...
Michael Steinberg wrote that the movement 'represents the "savage" element' of the concerto 'as against the generally more lyrical first and third movements. The music, full of contrast, is by turns amusing, naughty, for a while even malevolent, athletic, and always violinistically ingenious and brilliant. It seems to be over in a moment.' [14]
Other examples of nocturnes include the one for orchestra from Felix Mendelssohn's incidental music for A Midsummer Night's Dream (1848), the set of three for orchestra and female choir by Claude Debussy (who also wrote one for solo piano) and the first movement of the Violin Concerto No. 1 (1948) by Dmitri Shostakovich. French composer Erik ...