Week 5 : Concerto

Ritornello Form à

Rit. 1 I abcdec'e

Solo 1 I-V (III) figuration

Rit. 2 V (III) abde

Solo 2 Modulatory Figuration

Rit. 3 Various keys although IV is common acd

Solo 3 IV-I Figuration

Rit. 4 I abcdec'e

Beethoven's Contributions and Influence:

•  He began writing concerto with the goal of proportion and balance as in the style of Mozart.

•  After he understood the classical form, he expanded virtuosity in the solo parts while keeping a strong orchestra à the concerto became symphonic in nature.

•  Beethoven would often cast the soloist as a heroic figure (last two concertos the solo opens the piece). With this innovation, Beethoven kept the ritornello form in his first movements.

•  He reduced the slow movements (as his contemporaries did as well), but he was very innovative in his experiments with structure using uncommon sonorities. He linked the slow movement to the final movement without any pause (Triple concerto, violin concerto, piano concerto no. 4, and no. 5)

•  He retained the 18 th century light hearted rondo finale but expanded its size, introduced greater contrast, and increased tension by placing the second episode in a minor key. Rather than using a solo trill to close a section (such as a cadenza), he used them as a way to enter an expanded solo section.

•  His innovations (such as a solo opening, linking movements, and experimenting with musical interrelationships among movements) were highly influential to his successors. However, he was still rooted in the Classical tradition and later 19 th century composers departed radically from tradition.

2 types of concertos in the 19th century

1. Symphonic concerto; equal balance between soloist and orchestra (Mozart, Haydn Schumann and Brahms)

2. Virtuosic concerto where the orchestra is merely accompaniment such as Liszt and Chopin.

Virtuoso Concerto Summary

• Concerto moves from small venues to large scale halls
• Centers on performance and composition, Paris , London , Vienna
• Changes the career of the soloist. Career built around a local audience. Viotti's traveling to Paris , London rather in a stable way rather than doing tours like Liszt did.
• Concertos don't need the continuous changes when the traveling virtuoso is doing tours since it's a new audience every time.
• John Field, pioneers the “stile brilliant” which Chopin refines and was a student of Clementi. Performed in London Russia .
• Wrote concertos which represent the times. Style of concertos by using folk material, Russian themes, Scot themes, Mazurkas, Polonaise, nationalistic feel
• Form takes back seat to virtuosity, formal complexity is lacking though the better ones are not as shallow such as ones by Chopin.

Opera still a model: 1. Concerto based on operatic themes 2. Concerto based on operatic style/scene.

Beethoven Violin Concerto Op. 61 1806 C Major

• With his third piano concerto c1800, Beethoven had begun to free himself from many contemporary conventions in the genre. He had broadened the scope of the first movement to symphonic proportions, combining thematic development with the free fantasia of the French concerto; he had restored and strengthened the principle of equality and opposition between orchestra and soloist; and he had achieved a much greater concentration, integration and economy of thematic material, shared by orchestra and soloist. He built upon these developments in his Violin Concerto.

Allegro ma non troppo

• Vast dimensions of its first movement, which in achieving a complete reconciliation of concerto and sonata form principles.
• Greater emphasis is placed on thematic development and structural coherence and less weight on virtuoso display, the soloist appearing at times almost incidental and functioning more as a commentator upon and embellisher of thematic statements and developments made by the orchestra than as a means of developing that material or introducing new themes.
• Orchestration yields a rich kaleidoscope o orchestral color, in which the ever varied contrast and combinations of solo violin and woodwind have particular significance.
• Much of the thematic material contributed by the orchestra is scored for the woodwinds, especially the flute, oboe or clarinet, in preference to the strings because they offer a better contrast to the timbre of the soloist.
• Concentration on the violin solo's higher register separates the soloist in range fro the orchestral violins.
• Overall effect of the movement is one of solid foundations of harmonic stasis, harmonic activity at the surface level.
• Emphasis on the root of the tonic triad and a series of changes from major to minor offer their expansive effect of power and tenderness.
• The use of the timpani motif (in R1) serves as an essential developmental element and unifying device throughout the movement, appearing sometimes as a melodic idea.
• Form- all three movement. Texture-a great symphony where the violin takes the leading role. Use of the range of the violin, emphasis on the first movement. Perfect blend of concerto/sonata form.
• Large I movement. Compared to II and III
• Clement premiered the concerto
• Timpani evokes military sound
• Winds heard at the beginning and contrasts with the orchestra.
  

Larghetto

• Has its roots in variation form but difficult to label as a traditional structure. It is varied orchestrations of Theme A. This is unlike the traditional variation types of the period such as those based on themes in binary form, or on opera airs or popular tunes.
• Contemporary influences: 1. Romanze 2. Presence of a chaconne bass within the structure 3. Poetic and subjective qualities added by the quasi programmatic dialogue between soloist and orchestra.
• Static harmonic plan remains largely in the tonic key of G major and allows material to unfold freely.
• Faithful to Rousseau's definition of the romance in five respects: 1. use of essentially strophic form 2. Pastoral atmosphere 3.Various musical details that suggest the goût un peu antique 4. Quasi narrative character 5. Its touching and extremely Romantic final experience.
• Slow movement linked to the finale
• Element of improvisation throughout.

Rondo. Allegro

• Retains the style of the light hearted, 18 th century rondo finale
• He modifies it by introducing greater contrast and an increased level of tension by placing the second episode in a minor key, an admirable counterbalance to the major minor ambiguity of the first movement, whose development adopts a similar tonal bias.
• It is a ‘hunting' rondo of standard design with substantial coda, dividing conveniently into seven main sections: A1-B1-A2-C1-A3-B2-Coda(A4).
• Violin begins the mvmt. Opening theme by violin marked sul G. argued Clement's theme. Double stops evoke dance.

Mendelssohn Violin Concerto E minor Op. 64 1844

• Most inventive for its time
• First to break away from Ritornello piece.
• Innovative in treatment of violin and tutti
• A response to Paganini's hyper virtuosity by establishing more balance.
• Violinist Ferdinand David 1810-1873 Leipzig Gewandhaus concert master, who was also a composer. plays role as Clement did for Beethoven though Mendelssohn was an accomplished violinist.
• Main innovations: violinist at beginning which is unusual. Constant engagement of violin and tutti. Linked 3 movements.
• Influential to Brahms piano concerto
• Aesthetic purpose to recapture symphonic depth.
• Opening in the spirit of Beethoven with use of timpani, wavering between tonic and dominant though not as organic as Beethoven.
• Rhapsodic character from the beginning.
• Melody is cantabile style, transition is bravura style.
• Melodic material continuously evolves rather than just repeated. Tends to be open ended. Begins and ends on dominant (thought V at the end est. as the tonic).
• Octaves, bravura similar to Beethoven.
• Solo and orchestra. Interact in a flexible way.
• Extensions like Baroque Fortspinnung, Mendelssohn 1830, 40's was part of the Bach revival and he references Bach. He wanted to weld the past with principle. The violin is very improvisatory in spirit with episodes, arpeggios, scale passages evoking Forspinnung
• Combination of fantasia, Rhapsodic and sonata form elements.
• 2 nd theme area G major moves to mediant like Chopin and Beethoven had done. 2 nd theme presented by winds in quarter note motion. Violin quickly picks it up and expands on it.
• Standard single exposition
• Short secondary theme relative to the primary into development.
• Timpani used for structural return, marking the ritornello
• Unusual that cadenza occurs and orchestra not on 6/4 and happens before Recapitulation where usually cadenza occurs midway through the recap.
• Cadenza composed out and clearly related to Bach Chaconne with use of arpeggiation.
• After cadenza reversal of roles- violin acc. Orchestra
• Transition to coda expanded section as in Beethoven repetition of development but emphasizes the tonic.
• Horn connects over to the II movement.

II Movement Andante

• C major
• Closed periods rather than 1 st movement material
• Shift in affect, increased virtuosity due to evolving violin technique 19 th c.
• Song like but no specific model evokes, song w/o words
• Structure ABA

III Movement Allegretto non troppo, Allegro molto Vivace

• Transition based on material heard from B section.
• Faster section scherzo, rondo like. Typical tune, texture like midsummer's night dream. Typical Mendelssohn.
• 2 nd theme is vaudeville character. Bach arpeggiations.
  

Louis Spohr (1784-1859) Concerto No. 8 a minor 1816

• Highly innovative à one of the first major departures from the traditional concerto.
• No breaks between movements or sections and doesn't follow the traditional fast-slow-fast scheme.
• It was conceived while touring Italy . The violin took an opera singer role in recitatives and arias.
• Gesangsszene à a concerto in the form of a vocal scene. This was performed at La Scala 1816.
• Allegro molto à orchestral introduction sets of the scene for the violin's vocal entrance in accompanied recitative. The solo section uses vocal styled ornamentation which then evolves into violin figuration.
• Adagio à da capo aria in F major. Cavatina style. Triple meter theme.
• Andante à recitative with double stops in the violin serving as a transitional section to the final Allegro.
• Allegro molto à Cabaletta inspired with its fast tempo, short repetitive phrases and syncopations but is a March like movement and the least like a vocal piece. Virtuosic figuration, double stop laden cadenza. Rondo like but with only one contrasting section à E flat to B major via enharmonic modulation. During the solos the orchestra is very inactive.
• Overall the orchestra is small, since most Italian orchestras were relatively smaller than in Germany .

Spohr and Weber were the leading German composers and possessed elements of Wagner's late music. His expression was strained and avoided overly showy techniques that were common (sautillè, spicatto, ricochet, artificial harmonies, light bowing, muted strings). He preferred a bel canto, full singing tone with slight virbrato. His virtuosity came from a vigorous left hand. He employed double stops, wide reaching 10ths, trills unusual chromatic scales.

Some of his modern features:

Linking movements

Serious meditative Adagios

Discarding Sonata Allegro form

Slow introductions

Exotic dance rhythms finales

Written out cadenzas

Free recitatives

Avoided improvised ornamentation.

Viotti Violin Concerto No. 22 in a minor 1793-1803

Moderato

• Gallant style but in minor key
• Episodic ritornello form
• Plays largely in middle/lower register and stands out from the orchestra by the volume/ heavy sound. Orch. Used for color.
• Different aesthetic, more symphonic begins with slow introduction which is symphonic gesture. Horns, military style in introduction.
• French had preference to military music and references commonly made.
• Allegro after slow intro minor è major. Orchestra evolves into a buffo like character and operatic in the patter style (from sturm und drang)
• Octave leaps in violin solo. Viotti's interest more in character and style and technique more than form whereas Beethoven's interest was more in form.
• Concertos early 19 th c. were written by virtuosos for their own use (w/exception of Beethoven due to his deafness).

Larghetto

Romanza, short movement, no stormy middle section but a minor portion. Stays folk like

Rondo Allegro

Gallant/folk style almost all orchestral forces.

Viotti was influential to Beethoven's violin concerto since Beethoven was familiar with his playing and his followers (Pierre Rode, Rodolphe Kreutzer, Pierre Baillot). He borrowed idiomatic features of the French violin music but transformed its simple virtuosity by using it to embellish profound musical ideas.

Brahms Violin Concerto in d major op. 77

•  He took up residence in Vienna in 1862. Refused to write a purely orchestral work until 1873.

•  This is his most lyrical work. Wrote it during the summer of 1878 at Pörtschach on the Wörthersee. He wrote it for his friend Joachim and was modeled to some extent on Beethoven's violin concerto which Joachim popularized.

•  He thinned out the orchestra in order for the violin to stand out.

•  Demanding double stops, wide leaps and contrast of very high with lower pitches are difficult to articulate. However, Brahms highlighted the instrument's singing capabilities.

•  Was originally to be four movements with the last being a scherzo. Rather, he used a slow movement he called “a poor Adagio.”

•  Premiered in Gewandhaus 1879.

Allegro non Troppo à triple meter, triadic opening theme relating to the folk song and simple octave doublings of bassoons, violas and cellos later to be joined by horns in octaves, all this giving a warm mood. The orchestra plays a full ritornello presenting all the themes except the second theme prior to the entrance of the soloist. All the themes are lyrical except the last one which is rather rhythmic. The hemiola plays a large role in creating rhythmic tension. The development section moves through C major as in Beethoven's Violin concerto to c minor, the solo violin playing the first theme of the second theme group in double stops. The recapitulation is based on the solo exposition. The final ritornello includes canonic treatment of the opening ritornello. The ritornello serves as an introduction to the cadenza which was either improvised or prepared by Joachim.

Adagio à Once of his most beautiful slow movements. F major, the lowered mediant with a midsection in F sharp minor. The winds play the first 29 measures featuring the oboe in the main melody. Ternary form with each section uses variation as the melodies become expanded and ornamented with the soloist in the high register

Allegro giocoso, ma non troppo vivace-Poco piu presto à A six part (ABACBA) rondo with strong Hungarian or gypsy elements (Joachim was born in Hungary ). During 1848-49 many composers were inspired by Hungarian folk music during this time was the Hungarian War of independence.

Tchaikovsky (1840-1893) Violin Concerto in D Major 1878

Known for blending contrasting musical traditions à the Russian national movement with the West.

Was conceived for Josef Kotek, to whom he was attracted.

The difficulty was beyond Kotek's abilities so he asked Leopole Auer who claimed it was unplayable. The piece underwent revisions by the compose and the Russian violinist Adolf Brodsky and was played inVienna.

Tchaikovsky followed the trend in exploiting the violin's singing tone as well as writing a flashy finale with folk qualities.

Allegro moderato à Mendelssohn's violin concerto may have influenced him in his playing the cadenza in the first movement at the end of the development and it's overlapping the beginning of the recapitulation.

Both themes are lyrical and the violin plays continuously through the exposition.

All the climaxes belong to the orchestra (such as the beginning of the development section the strings and flute play the main theme againt fanfare in the winds à a texture typical for this composer).

Andante à Canzonetta. Woodwinds open establishing g minor. Muted solo violin and orchestra. The opening theme consists of short, repeated phrases with Russian roots. The second theme is in E flat major is brighter and still lyrical.

Allegro vivacissimo à Fiery orchestral introduction of the main theme in A major. The solo's introduction is a mini cadenza with its double stops and pizzicato and arco alternation. The main theme has rhythmic drive and ascending runs while the second theme is slower (Poco meno mosso) darker, and lower and descends in motion and it is strong in its folk quality with descending fourths and drone fifths. Color to the second theme is achieved when the bassoon plays in counterpoint.

Nicolò Paganini (1782-1840)

•  In his early career, his repertory was mainly by members of the French violin school à viotti, Kreutzer, and Rode. He began to compose while on tour where he composed six concertos. He had a good sense of melody and drama.

•  He was one of the first few performers to perform from memory.

•  His influence stretched beyond the violin as pianists tried to capture his virtuosity t the piano.

•  Some themes from his short pieces were used in other composer's works è such as the theme from this 24 th Caprice. This was used by Brahms and Rachmaninov to be used as a way to display virtuosic variations.

•  Schumann was inspired by him in 1830 to go into music. His Op. 3 was based on the Paganini Caprices.

•  Paganini's Caprices inspired Chopin in his Etudes.

His technical devices:

•  Scordatura à unusual tuning of the strings for unusual multiple stops or tone. He generally tuned each string a half step above normal (like Mozart's viola in his Sinfonia concertante).

•  Harmonics both natural and artificial.

•  Left hand pizzicato combined with bow passages.

•  Multiple stops through the instruments entire range.

•  Wide intervals

•  Unorthodox bowing patters by using an up bow on accented beats and down bow for unaccented. Bouncing techniques of the bow.

•  Extensive use of only one string.

•  Tone à he used thinner, finer strings than other violinists easing up some technical issues but also led to a smaller tone.

•  Concertos No. 1 and No. 2 are most frequently played today.

Concerto No. 1 D Major op. 6

Allegro maestoso à D major, originally in E flat with scordatura solo violin. He used the older concerto sonata form with its orchestral ritornellos, solo entries to make the solo entries dramatic. Fairly large orchestra with trombones, contrabassoon, bass drum and cymbals. Italian style. Little use of woodwinds. Frequent fermatas give an operatic aria style. The first theme is highly virtuosic and commanding while the second theme, first presented in the dominant, is lyrical and played in the upper register in the solo violin. Like Mozart's concertos, the lyrical theme is followed by a long cadential like section showing technical articulations.

Allegro spiritoso à Relative minor stressing the singing style, using bel canto ideas.

Rondo, Allegro spiritoso à filled with technical display such as double harmonics.