Beethoven: Violin Concerto by Robin Stowell

By Robin Stowell

This can be the 1st person examine of Beethoven's Violin Concerto. It explores the work's heritage and the impacts that mixed in its construction, and describes its detached preliminary reception. It considers the varied textual difficulties that confront the performer, together with dialogue of Beethoven's variation for piano and orchestra. Following a close synopsis of the paintings itself, a last part reports the wide range of cadenzas which were written to counterpoint the concerto all through its functionality historical past.

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96 took account of Rode's performing style. Furthermore, the 'Hammerklavier' Sonata was written for Archduke Rudolph and the Violin Concerto specifically for Clement. The relationship between Beethoven and Clement seems to have been such that Clement would certainly have considered himself free to suggest major alterations to Beethoven's violin writing. However, although we may never know with certainty that Beethoven himself sanctioned every note of the final printed version of the solo part, it seems highly unlikely that he would have entrusted the formulation of that version to anyone else.

The triplet figuration in octaves of Clement's first movement (Ex. 10) finds a close parallel in Beethoven's solo elaboration of the second theme in its minor-mode version from 1/152. An arpeggio/scale triplet figure and orchestral punctuation in the same movement of Clement's work (Ex. 11, with a parallel at bb. 329-32) find their match late in Beethoven's Allegro (1/469-73); and the end of Clement's first solo section (Ex. 12, bb. 192-200) strikes two close parallels with Beethoven's figuration in 1/199-205.

He revived it, transfigured it, increased its measure. It was a consecration, a sort of Bayreuth on a reduced scale, in which tradition was perpetuated and made beautiful and strong.. 18 Critical opinion of the day certainly backs up Ysaye's enthusiasm. 19 The critic of The Musical Worldreferred to the 'almost novelty of Beethoven's violin concerto', and described Joachim's performance as astonishing. Not only was it astonishing as coming from a comparative child, but astonishing as a violin performance, no matter from whom proceeding.

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