Violin Concerto in E minor

Question 1

genre

Answer 1

violin concerto

Question 2

date of composition

Answer 2

1844

Question 3

structure

Answer 3

3 movements

Question 4

performing forces

Answer 4

solo violin and orchestra

Question 5

key

Answer 5

E minor

Question 6

tempo

Answer 6

Allegro molto appassionato

Question 7

Time signature

Answer 7

C

Question 8

form

Answer 8

sonata (follows the increasingly common practice of dispensing with the “double exposition” format that had been customary in the 18th cen concerto)

Question 9

Tell me about the first theme in the exposition
(when does the solo violin come in)
(describe the melody)
(what happens to the first theme)

Answer 9

solo violin enters following a very brief introduction
broad melody outlines the tonic triad of E minor
virtuosic melody has quickly moving notes and involves double stopping
Theme is restated by orchestra but is slightly different

Question 10

Let’s look at the bridge theme. How would you describe its melody? What technical challenges does it have for the performer? Does the bridge modulate to a new key?

Answer 10

soloist leads with angular melody followed by electrifying passagework involving string crossings, arpeggiated figures, and double stops in rising chromatic thirds
modulates to G major (relative major)

Question 11

Let’s look at the second theme. How would you describe the melody, and which instruments introduce it? What does the violin do? What dynamic and expressive marks can be found on the score?

Answer 11

clarinets and flutes introduce a serene melody in G major while the solo violin plays an accompanying pedal point on the tonic
the melody is based on a repeated-note motive that is treated sequentially
marked pp and tranquillo
solo violin reiterates First theme

Question 12

After the exposition (first theme, bridge, and second theme), how does the Codetta merge into the development? Is there any recall of earlier material?

Answer 12

(m 168)

soloist recalls opening of First Theme in G major followed by virtuosic cadential figures merging into the development

Question 13

Name two ways in which tension is increased in the development.

Answer 13

tremolando diminished seventh chord figures increase dramatic tension
The soloist restates bridge material in A minor “agitato”

Question 14

Describe how the themes are treated in the development.

Answer 14

The orchestra alternates with the soloist, playing fragments of the first theme.
The wood winds also present fragments of the first theme accompanied by the soloist playing florid eighth-note passages.

Question 14

Describe the tonality of the development.

Answer 14

There is a juxtaposition of major and minor modes throughout.

Question 16

Describe the “eye of the storm” in the development, and how this leads into the cadenza. Is the cadenza improvised?

Answer 16

Near the end of the development, tension subsides and a more serene character emerges. There is a build up of tension and increased virtuosic writing, and then the orchestra suddenly drops out. The soloist launches into the cadenza, which is written out in full by Mendelssohn.

Question 17

Let’s speak about the cadenza. Is it improvised or written out? What is unusual about the cadenza?

Answer 17

It was written out in full by Mendelssohn. Usually cadenzas occur at the end of the recapitulation just prior to the coda. In this work, the cadenza is after the development.

Question 18

Describe how the cadenza leads into the recapitulation. What key is the recapitulation? Who restates the first theme? What key is the second theme restated in?

Answer 18

The cadenza seamlessly melds into the recapitulation - the violin continues its ricochet arpeggios from the cadenza, as the orchestra restates the first theme. The second theme is restated in E major.

Question 19

Does the coda speed up or slow down, and what tempo markings can be found on the score? What is unique about this coda?

Answer 19

The coda is urged to continually speed up with tempo markings piu presto, sempre piu presto, and presto. After the final tonic chords, the bassoon sustains a B that creates a direct link into the second movement.