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Rhythmic
motif
This first subject is triadic and based on the triad of e minor, the home key of
the piece. The repetition of the rhythm of the three notes at the beginning can
be found in the piece as a stand-alone motif and is clearly reworked
throughout the whole movement. An example of this can be found in the horn
and trumpet parts bars 43-44 and in the solo violin part bars 169-169.
Following a passage of rapidly played chromatic triplets the orchestra restate
the first theme in bar 47.
Unusually the transition has a theme of its own, first stated by the oboes and
violin one, then repeated an octave higher by the solo violin.
This theme is heavily chromatic and uses extended techniques for the violin
such as double-stopping for example bars 97-104. This passage ends with a
frantic chromatic run into a pedal note on G (the tonic of the modulated key of
g major, also the relative major of the home key), which heralds the beginning
of the tranquil and lyrical second subject. (Todd, 2003 p.481)
The pedal note provides a bass to the melody played by the woodwind, which
is then repeated an octave higher and developed by the solo violin before a
short codetta indicates the end of the exposition. (Tovey, 2014 p. 158)
The development section of this piece combines the themes from the first
subject and the transition theme but unusually the second subject is omitted.
Another innovation appears at the end of the development where the cadenza
interrupts the transition into the recapitulation (Todd, 2003 p. 481),
conventionally the cadenza would be placed at the end of the movement.
Mendelssohn also scored the cadenza, which gave the violinist no scope to
improvise, where formerly the soloist would improvise the themes previously
introduced and end on a trill to indicate the re entrance of the orchestra.
The Recapitulation begins as “The Orchestra softly brings the first subject
into full swing as the arpeggios of the violin” continued from the cadenza
“settle into a rapid spin”. (Tovey, 2014 p.158) The recapitulation differs from
the exposition in several ways for example the first subject at bar 335 is still in
the key of E minor but is now played by the orchestra in comparison to the
exposition where the soloist introduces the first theme. The second subject
also now appears in E major rather than G major and is now played by the
clarinets, flutes and additionally the oboe.
The coda forms a “three-part stretto passage” which consists of Piu presto,
sempre piu presto and presto which gives a renewed feel to the coda (Todd,
2013 p.291) the very end of the movement the bassoon holds a Bb which was
unusual previous to this concerto.
Bibliography
Books
Websites
GCSE Bitesize, The concerto in the Classical period (roughly 1750-1800) n.d.
Available at :
http://www.bbc.co.uk/schools/gcsebitesize/music/western_tradition/concerto2.
shtml. [Accessed 19 March 2015]
Journals
Musical Examples