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Contents
1 Genesis 2 Performance history 3 Performance practice 4 Structure
4.1 Cadenzas
5 Alternative versions 6 Recordings 7 References 8 External links
Genesis[edit]
Beethoven had previously written a number of pieces for violin and
orchestra. At some point in 1790–2, before his musical maturity, he
began a
Violin
Violin
Concerto
Concerto in C, of which only a fragment of the first
movement survives. Whether the work, or even the first movement, had
ever been completed is not known.[1] However, even if complete, it was
neither performed nor published. Later in the 1790s, Beethoven had
completed two Romances for violin – first the Romance in F and later
the Romance in G.[2]
These works show a strong influence from the French school of violin
playing, exemplified by violinists such as Giovanni Battista Viotti,
Pierre Rode
Pierre Rode and Rodolphe Kreutzer. The two Romances, for instance, are
in a similar style to slow movements of concerti by Viotti.[3] This
influence can also be seen in the
D major
D major Concerto; the 'martial'
opening with the beat of the timpani follows the style of French music
at the time, while the prevalence of figures in broken sixths and
broken octaves closely resembles elements of compositions by Kreutzer
and Viotti.[4]
Performance history[edit]
Beethoven wrote the concerto for his colleague Franz Clement, a
leading violinist of the day, who had earlier given him helpful advice
on his opera Fidelio. The work was premiered on 23 December 1806 in
the
Theater an der Wien
Theater an der Wien in Vienna, the occasion being a benefit
concert for Clement. The first printed edition (1808) was also
dedicated to Franz Clement.
It is believed that Beethoven finished the solo part so late that
Clement had to sight-read part of his performance.[5] Perhaps to
express his annoyance, or to show what he could do when he had time to
prepare, Clement is said to have interrupted the concerto between the
first and second movements with a solo composition of his own, played
on one string of the violin held upside down;[6] however, other
sources claim that he did play such a piece but only at the end of the
performance.[7]
The premiere was not a success, and the concerto was little performed
in the following decades.
The work was revived in 1844, well after Beethoven's death, with a
performance by the then 12-year-old violinist
Joseph Joachim
Joseph Joachim with the
orchestra of the London Philharmonic Society conducted by Felix
Mendelssohn. Ever since, it has been one of the most important works
of the violin concerto repertoire, and is frequently performed and
recorded today.
Performance practice[edit]
Performance by US Marine Chamber Orchestra
I. Allegro ma non troppo
II. Larghetto
III. Rondo, allegro
Problems playing these files? See media help.
It has been said that not only in this piece, but generally,
"Recordings demonstrate that ... it was the practice in the early
twentieth century to vary the tempo considerably within a
movement,"[8] and that in the concerto, there is "often one big trough
(slowing?) in the central
G major
G major passage."[9]
Structure[edit]
The work is in three movements:
Allegro ma non troppo (D major) Larghetto (G major) Rondo. Allegro (D major)
It is scored, in addition to the solo violin, for flute, two oboes,
two clarinets, two bassoons, two horns, two trumpets, timpani, and
strings.
The first movement starts with four beats on the timpani and has a
duration of about 25 minutes. The second and third movements last
about 10 minutes each. There is no break between the second and third
movements. The entire work itself is approximately 45 minutes in
duration.
Cadenzas[edit]
Cadenzas for the work have been written by several notable violinists,
including Joachim. The cadenzas by
Fritz Kreisler
Fritz Kreisler are probably most
often employed. More recently, composer
Alfred Schnittke
Alfred Schnittke provided
controversial cadenzas with a characteristically 20th-century flavor;
violinist
Gidon Kremer
Gidon Kremer has recorded the concerto with the Schnittke
cadenzas.[10] New klezmer-inspired cadenzas written by Montreal based
klezmer clarinetist and composer
Airat Ichmouratov
Airat Ichmouratov for Alexandre Da
Costa in 2011 have been recorded by the
Taipei Symphony Orchestra
Taipei Symphony Orchestra for
Warner Classics.[11]
The following violinists and composers have written cadenzas:[12][13]
Leopold Auer Joshua Bell Ferruccio Busoni Stephanie Chase Ferdinand David Jakob Dont Isaak Dunayevsky Mischa Elman Carl Flesch Joseph Hellmesberger, Sr. Jenő Hubay Joseph Joachim Patricia Kopatchinskaja Fritz Kreisler Christiaan Kriens Airat Ichmouratov Ferdinand Laub Hubert Léonard Nathan Milstein Bernhard Molique Miron Polyakin Manuel Quiroga Camille Saint-Saëns Wolfgang Schneiderhan Alfred Schnittke Ödön Singer Sayaka Shoji Louis Spohr Henri Vieuxtemps Henryk Wieniawski August Wilhelmj Eugène Ysaÿe
Alternative versions[edit]
Perhaps due to the
Violin
Violin Concerto's lack of success at its premiere,
and at the request of Muzio Clementi, Beethoven revised it in a
version for piano and orchestra, which was later published as
Op. 61a. For this version, which is present as a sketch in the
Violin
Violin Concerto's autograph alongside revisions to the solo part,[14]
Beethoven wrote a lengthy, somewhat bombastic first movement cadenza
which features the orchestra's timpanist along with the solo pianist.
This and the cadenzas for the other movements were later arranged for
the violin (and timpani) by Max Rostal, Ottokar Nováček, Christian
Tetzlaff and Wolfgang Schneiderhan. Gidon Kremer, on his recording
with Nikolaus Harnoncourt, adapts these cadenzas for violin, timpani
and piano, although the piano does not play in any other parts of the
recording.
Seiji Ozawa
Seiji Ozawa also wrote an arrangement for piano. More
recently, it has been arranged as a concerto for clarinet and
orchestra, by Mikhail Pletnev.[15]
Recordings[edit]
The first known recording of Beethoven's violin concerto was made in
1925 for
Polydor
Polydor by violinist Josef Wolfsthal, with Hans Thierfelder
conducting the Berlin Staatsoper Orchestra[citation needed]. Hundreds
of recordings have been made since, among which the following have
received awards and outstanding reviews:
1953: Wolfgang Schneiderhan (violin), Berliner Philharmoniker, Eugen
Jochum (conductor), Deutsche Grammophon – "Rosette" by the Penguin
Guide
1955:
Jascha Heifetz
Jascha Heifetz (violin), Boston Symphony Orchestra, Charles
Munch (direction), RCA Victor – "Mid-price choice" by BBC Radio 3
Building a Library, September 2003
1959:
Isaac Stern
Isaac Stern (violin), New York Philharmonic, Leonard Bernstein
(conductor), Sony "Unique cadenza in last movement"
1974:
Arthur Grumiaux
Arthur Grumiaux (violin), Concertgebouw Orchestra, Colin Davis
(conductor), Philips – "4 star" by the Penguin Guide
1980:
Itzhak Perlman
Itzhak Perlman (violin), Philharmonia Orchestra, Carlo Maria
Giulini (direction), EMI – Gramophone Award, 1981
1997:
Thomas Zehetmair (violin), Orchestra of the Eighteenth Century,
Frans Brüggen
Frans Brüggen (conductor), Philips – "First choice" by BBC Radio 3
Building a Library, September 2003
2006:
Isabelle Faust
Isabelle Faust (violin), Prague Philharmonia, Jirí Belohlávek
(conductor), Harmonia Mundi – "First choice" by BBC Radio 3 Building
a Library, April 2011; "Diapason d'or" by Diapason, April 2011
2011:
Isabelle Faust
Isabelle Faust (violin), Orchestra Mozart, Claudio Abbado
(conductor), Harmonia Mundi – "Disc of the Month" by Gramophone,
March 2012; "Disc of the Month" by BBC Music Magazine, April 2012;
"
Diapason d'Or Arte" by
Diapason d'Or and Arte; Gramophone Award,
2012; Preis der deutschen Schallplattenkritik;
Echo Klassik 2012;
"Highly recommended recording" by Gramophone April 2014,[16]
References[edit] Footnotes
^ Stowell, 1998, pp. 4–5
^ The Romances were published in the opposite order, the
first-composed being published second, becoming "Romance No. 2"
^ Stowell, 1998, p.14
^ Stowell, pp. 16–19
^ Eulenburg pocket score, preface, p.3
^ Eulenburg pocket score, p. 3
^ Steinberg, M. (1998). The concerto: a listener's guide. Oxford
University Press. p. 81.
^ Philip, p. 196
^ Philip, p. 198
^ "Review – Beethoven:
Violin
Violin
Concerto
Concerto / Kremer, Marriner, ASMF".
ArkivMusic.com. 2010-04-22. Retrieved 2014-01-01.
^ "
Alexandre Da Costa
Alexandre Da Costa ,
Violin
Violin Concerto". warnerclassics.com. 1 August
2013. Archived from the original on 24 November 2015. Retrieved
2015-08-07.
^ Berginc 2010
^ Wulfhorst 2010
^ Ludwig van Beethoven. Konzert für Violine & Orchester D-dur
Opus 61. [Österreichische Nationalbibliothek, Wien, Mus. Hs. 17.538]
Edited, with commentary (in German) by Franz Grasberger. Graz, 1979.
^ Fenech, Gerald (October 2000). "Review – Beethoven
Violin
Violin Concerto
for Clarinet". MusicWeb.com. Retrieved 2014-01-01.
^ http://www.gramophone.co.uk/feature/top-10-violin-concertos
Bibliography
Beethoven, Ludwig van:
Concerto
Concerto for
Violin
Violin and orchestra in D major
op. 61. Score. Eulenburg 2007. EAS 130
Beethoven, Ludwig van: Konzert für Violine & Orchester D-dur Opus
61. (Facsimile edition of autograph full score) Österreichische
Nationalbibliothek, Wien, Mus. Hs. 17.538. Edited, with commentary (in
German) by Franz Grasberger. Graz, 1979.
Berginc, Milan (2010). Beethoven's
Violin
Violin
Concerto
Concerto and Cadenzas of
Beethoven's
Violin
Violin
Concerto
Concerto Op. 61 (PDF) (Thesis). Archived from the
original (PDF) on 2016-03-05. Retrieved 2014-01-01.
Philip, Robert, "Traditional habits of performance in
early-twentieth-century recordings of Beethoven", in Stowell, Ed.,
pp. 195–204.
Stowell, Robin (Ed.): Performing Beethoven, Cambridge University
Press, Cambridge, 1994. Ten essays by various authors.
Stowell, Robin: Beethoven
Violin
Violin Concerto. Cambridge University Press,
Cambridge, 1998.
Wulfhorst, Martin (2010). "A Comprehensive Catalogue of Cadenzas for
Beethoven's
Violin
Violin
Concerto
Concerto op. 61". Retrieved 2014-01-01.
External links[edit]
Violin
Violin Concerto: Scores at the International Music Score Library
Project (IMSLP)
Complete performances from the
Internet Archive
Internet Archive by Jascha
Heifetz/
Arturo Toscanini
Arturo Toscanini and Fritz Kreisler/John Barbirolli.
v t e
Concertos by Ludwig van Beethoven
Piano concertos
No. 1 in C major, Op. 15 No. 2 in B♭ major, Op. 19 No. 3 in C minor, Op. 37 No. 4 in G major, Op. 58 No. 5 in E♭ major, Op. 73 (Emperor)
No. 0 in E♭ major, WoO 4 (early, fragmentary work) No. 6 in D major, Hess 15 (unfinished)
Violin
Violin concerto
Concerto
Concerto in D major, Op. 61
Concerto
Concerto in C major (fragmentary work), WoO 5, Hess 10
Oboe
Oboe concerto
Concerto
Concerto in F major (fragmentary work), Hess 12
Triple concerto
Triple
Concerto
Concerto in C major, Op. 56
Triple
Concerto
Concerto for Flute,
Bassoon
Bassoon and Piano in E minor (fragmentary
work), Hess 13
Other works for piano and orchestra
Rondo
Rondo for piano and orchestra, WoO 6
Choral Fantasy, Op. 80
Other works for violin and orchestra
Romance No. 1 in G major, Op. 40 Romance No. 2 in F major, Op. 50
List of compositions by Ludwig v