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Encyclopedia > Violin Concerto (Beethoven)

Ludwig van Beethoven's Concerto for Violin and Orchestra in D major was written in 1806. It is Beethoven's opus 61. Ludwig van Beethoven by Carl Jäger (date unknown). ... 1806 was a common year starting on Wednesday (see link for calendar). ... Opus is a Latin word which means work (in the sense of a work of art). Some composers musical pieces are identified by opus numbers which generally run either in order of composition or in order of publication. ...


The work was premiered on December 23, 1806 in the Theater an der Wien in Vienna. 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 occasion was a benefit concert for Clement. December 23 is the 357th day of the year in the Gregorian Calendar (358th in leap years). ... 1806 was a common year starting on Wednesday (see link for calendar). ... The Theater an der Wien is a historic theatre in Vienna. ... Vienna (German: Wien ; Bosnian, Croatian, and Serbian: Beč, Czech: Vídeň, Hungarian: Bécs, Romanian: Viena, Romani: Bech or Vidnya, Russian: Вена, Slovak: Viedeň, Slovenian: Dunaj) is the capital of Austria, and also one of the nine States of Austria. ... A violinist is an instrumentalist who plays the violin. ... Sydney Opera House: one of the worlds most recognizable opera houses and landmarks Opera refers to a dramatic art form, originating in Europe, in which the emotional content or primary entertainment is conveyed to the audience as much through music, both vocal and instrumental, as it is through the... Fidelio (Op. ... A benefit concert is a concert featuring musicians, comedians, or other performers that is held for a charitable purpose, often directed at a specific and immediate humanitarian crisis. ...


It is believed that Beethoven finished the solo part so late that Clement had to sight-read part of his performance. Perhaps to express his annoyance, or to show what he could do when he had time to prepare, Clement 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.


The premiere was not a success, and the concerto was little performed in the following decades.


The work was revived in the 1840s, well after Beethoven's death, with performances by the violinist Joseph Joachim, with the orchestra led by Felix Mendelssohn; ever since it has been one of the most important works of the violin concerto repertoire, and it is frequently performed and recorded today. // Events and Trends Technology First use of general anesthesia in an operation, by Crawford Long The first electrical telegraph sent by Samuel Morse on May 24, 1844 from Baltimore to Washington, D.C.. War, peace and politics First signing of the Treaty of Waitangi (Te Tiriti o Waitangi) on February... Joseph Joachim Joseph Joachim (June 28, 1831 – August 15, 1907) was a violinist, conductor and composer. ... Felix Mendelssohn Bartholdy at the age of thirty Jakob Ludwig Felix Mendelssohn Bartholdy, known generally as Felix Mendelssohn (February 3, 1809 – November 4, 1847) was a German composer of Jewish parentage of the early Romantic period. ...


The work is in three movements: In music, a movement is a large division of a larger composition or musical form. ...

  1. Allegro ma non troppo
  2. Larghetto
  3. Rondo (Allegro)

The most important motif or musical idea of the work (five rhythmically even taps on the timpani) is heard in the first two bars of the first movement and can be found permeating the entire work. In music, a motif is a perceivable or salient reoccurring fragment or succession of notes that may used to construct the entirety or parts of complete melodies, themes. ... A timpanist in the United States Air Forces in Europe Band. ...


After the timpani introduction, the movement continues leisurely with simple symmetrical phrases in the woodwind section until bar 10 where another important motif is first heard. This motif (which is itself based on the opening timpani figure) consists of four D-sharp notes in the key of D major (a striking dissonance). This motif reappears frequently in its own right later in the movement, especially in the development and Kreisler's cadenza. The solo violin's entrance, after the original statement of the first theme by the orchestra, is considered to be one of the hardest to pull off in the violin repertoire, due to a combination of sparseness of scoring, technically difficult octaves and the exceedingly long orchestral opening that precedes it. At around 25 minutes, this is one of Beethoven's longest single movements. A woodwind instrument is a musical instrument in which sound is produced by blowing through a mouthpiece against an edge or by a vibrating reed, and in which the pitch is varied by opening or closing holes in the body of the instrument. ... In musical notation, a bar or measure is a segment of time defined as a given number of beats of a given duration. ... This article is about the musical notation. ... D major is a major scale based on D, consisting of the pitches D, E, F#, G, A, B, C# and D. Its key signature consists of two sharps. ... In music, a consonance (Latin consonare, sounding together) is a harmony, chord, or interval considered stable, as opposed to a dissonance, which is considered unstable. ... Musical development is the transformation and restatement of initial material, often contrasted with musical variation, with which it may be difficult to distinguish as a general process. ... Fritz Kreisler (February 2, 1875 – January 29, 1962) was an Austrian violinist and composer, one of the most famous of his day. ... A cadenza is usually now taken to mean a portion near the end of a movement of a concerto (though it can be at any point in a concerto; an example is Tchaikovskys First Piano Concerto, where in the first five minutes a cadenza is used) in which the...


The second movement, in G major, consists of variations on a theme first played at the opening by muted strings. In each of the variations there is always another instrument or section to play against the violin. For example, in the first variation, the horn section plays the opening motif from the theme while the violin plays other material. Ideas from the first movement can be occasionally found throughout the movement, most notably a theme in bar 45 has a striking resemblance to the first subject in the opening movement, and some references to the opening timpani motif can be found. G major is a major scale based on G, consisting of the pitches G, A, B, C, D, E, F# and G. Its key signature consists of one sharp. ... In music, variation is a formal technique where material is altered during repetition; reiteration with changes. ... A mute is a device which alters the timbre and/or reduces the volume of a musical instrument. ... The horn is a brass instrument that consists of tubing wrapped into a coiled form. ...


A harmonically interesting ending links attacca straight to the rondo finale which is in a 6/8 time signature, the main melody of which imitates a hunting horn or bird and is quite well known. A powerful section in the tonic minor adds pathos to an essentially chirpy movement. During this section, the bassoon echoes the minore theme after it is first heard in the violin, which can remind the listener of the third variation in the second movement in which the bassoon also played with the violin. There are frequent references to the timpani motif that opened the entire work throughout the finale: for example, four D major chords are played before the final violin cadenza. Rondo, and its French equivalent rondeau, is a word that has been used in music in a number of ways, most often in reference to a musical form, but also in reference to a character-type that is distinct from the form. ... The time signature (also known as meter signature) is a notational device used in Western musical notation to specify how many beats are in each bar and which note value (minim (half-note), crotchet (quarter-note), quaver (eighth-note), and so on) constitutes one beat. ... Look up melody in Wiktionary, the free dictionary. ... The tonic is the first note of a musical scale, and in the tonal method of music composition it is extremely important. ... A minor scale in musical theory is a diatonic scale whose third scale degree is an interval of a minor third above the tonic. ... A Fox Instruments bassoon. ...


Cadenzas for the work have been written by several notable violinists, including Joachim. The cadenzas by Fritz Kreisler are probably most often employed.


An arrangement of the work as a piano concerto exists as opus 61a, although it is uncertain whether the task was undertaken by Beethoven. There is evidence, however, to suggest that is was completed by a contemporary who was left some instruction by the composer to the manner in which to arrange the solo line. Regardless, Beethoven did write his own cadenzas for the arrangement which unusually feature the timpani as well as the solo instrument, possibly a reference to the opening timpani motif. These were later arranged for the violin by the 20th century violinists Max Rostal and Wolfgang Schneiderhan. This version is not so often played as his five "original" piano concertos. In popular music an arrangement is a setting of a piece of music, which may have been composed by the arranger or by someone else. ... A piano concerto is a concerto for solo piano and orchestra. ... A timpanist in the United States Air Forces in Europe Band. ... Max Rostal (August 7, 1905 - August 6, 1991) was a violinist. ... Wolfgang Eduard Schneiderhan (born May 28, 1915) is a classical violinist. ...


External links


  Results from FactBites:
 
Beethoven Violin Concerto (1977 words)
Beethoven's towering musical concepts, mirroring the spirit of reform, democracy and revolution, and his idiomatic treatment of the violin and pianistic thinking, had to wait for a later era to be appreciated.
Beethoven was aware of the conflict between his vision and the performance practices of contemporary violinists, and assigned four staves to the violin solo, in order to leave room for alterations; in many places the four staves are filled.
Beethoven had studied the concerti of his contemporaries and predecessors; while Rode's technical propensities were too intricately violinistic to appeal to Beethoven, the influence of Viotti's characteristic use of broken octaves and Kreutzer's elaborating of a melodic line in triplet passages were put to good use in the concerto.
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