Accompanied by the Deutsche Kammerphilharmonie Bremen (Bremen German Chamber Philharmonic), the German violinist Christian Tetzlaff plays Wolfgang Amadeus Mozart’s Violin Concertos 1-5. Conductor: Paavo Järvi.
Mozart’s Violin Concerto No. 1
Wolfgang Amadeus Mozart’s Violin Concerto No. 1 in B♭ major, K. 207, was long believed to have been composed in 1775, the year usually associated with his other four violin concertos. However, modern research, particularly handwriting and paper analysis, suggests a completion date of April 1773, when Mozart was only seventeen. This revised dating places the work shortly after his return to Salzburg from his third Italian journey, during which he was strongly influenced by Italian concerto style and by his close friend Josef Mysliveček, one of the leading violin concerto composers of the era.
The concerto follows the conventional fast-slow-fast scheme typical of the eighteenth century. Its opening Allegro shares striking similarities with Mysliveček’s Violin Concerto No. 1 in D major, particularly in the opening theme, which seems to have been directly borrowed. The concerto’s original version lacked a rondo finale, consistent with early 1770s practice, when finales were more often concise Allegros. Its formal patterns, orchestral textures, and even solo passages accompanied by only two violins all point toward Mysliveček’s influence, which in turn was shaped by Giuseppe Tartini’s traditions in Padua. Thus, Mozart’s First Violin Concerto stands both as a youthful work and a vivid document of stylistic exchange between Salzburg and Italy.
Movements
With start times in the video:
1. Allegro moderato [0:00:10]
The Allegro moderato begins with a bright and festive orchestral ritornello, immediately establishing the concerto’s celebratory tone. The opening theme bears a striking resemblance to Mysliveček’s D major concerto, suggesting either conscious borrowing or close stylistic imitation.
Mozart’s handling of the material, however, already demonstrates his individuality: the solo violin restates the themes with added brilliance, ornamentation, and passagework that highlight the instrument’s agility. The structure follows the Italian concerto model, alternating tutti sections with solo episodes, and features sequences and harmonic shifts that maintain forward momentum.
Although youthful, the movement contains virtuosic elements – rapid scales, arpeggios, and double stops – that would have showcased Mozart’s own violin technique. The Allegro moderato is buoyant and elegant rather than dramatic, reflecting the galant style while also foreshadowing the more expansive and symphonic character of his later violin concertos.
2. Adagio [0:06:54]
The Adagio, in E-flat major, provides lyrical contrast through its expressive and cantabile writing. The orchestral introduction is restrained, allowing the solo violin to enter with a long-breathed, songlike melody. The influence of the Italian vocal style, which Mozart absorbed during his travels, is unmistakable here: the violin sings almost like an operatic aria, ornamented with delicate turns and embellishments.
The slow pacing and clear harmonic framework create an atmosphere of intimacy and repose. The accompaniment is light, often reduced to strings, which allows the soloist to project warmth and expressive nuance. Particularly striking are the passages where the violin is supported by only two violins, a trait likely inherited from Mysliveček’s own works. This sparse scoring highlights the solo line’s lyrical qualities. The Adagio exemplifies Mozart’s early ability to balance simplicity with expressivity, producing a movement that feels graceful, contemplative, and inward-looking.
3. Presto [0:14:11]
The Presto finale restores energy with spirited rhythms and dazzling violin writing. Originally not conceived as a rondo – consistent with concerto practice of the early 1770s – the finale is concise, with a lively character reminiscent of a dance. The soloist dominates with rapid passagework, bariolage effects, and virtuosic leaps, all set against a clear and propulsive orchestral backdrop.
While formally straightforward, the finale maintains excitement through contrasts between full orchestral ritornellos and agile solo episodes. Its thematic material is cheerful and rhythmically pointed, driving the music forward with buoyant momentum. The brevity of the movement reflects Italian preferences of the time, yet Mozart enriches it with flourishes and imaginative touches that foreshadow his more sophisticated finales in later concertos.
The Presto closes the work with brilliance and youthful exuberance, leaving an impression of joy and vitality that complements the elegance of the preceding movements.
Mozart’s Violin Concerto No. 2
Mozart’s Violin Concerto No. 2 in D major, K. 211, was composed in June 1775 in Salzburg, when Mozart was nineteen years old. Unlike his First Concerto in B♭ major (K. 207), which was influenced heavily by Italian models and possibly earlier in date, the Second Concerto appears to be a fully original creation and shows Mozart’s rapid stylistic development. It retains the standard fast-slow-fast three-movement concerto design, but with more individuality and maturity.
The opening Allegro moderato demonstrates a greater integration of soloist and orchestra, while the slow movement reveals a deeper lyrical quality, and the finale adopts a playful rondo form. While Italian influences – especially those of Mysliveček and the galant style – remain evident, the concerto already anticipates some of the traits that would culminate in Mozart’s later Salzburg violin concertos, particularly his growing confidence in orchestral balance and soloistic display.
The work was likely intended for performance by Mozart himself or for use at Salzburg court concerts, where violin concertos were a regular feature. The Concerto No. 2, therefore, represents both a continuation of the youthful concerto style and a step toward the greater structural sophistication of Mozart’s later violin concertos, particularly Nos. 3-5.
Movements
With start times in the video:
1. Allegro moderato [0:19:26]
The Allegro moderato opens with a bright orchestral ritornello that outlines the principal themes in festive D major. Compared to the First Concerto, the integration of orchestra and soloist is more fluid: instead of simple alternation, Mozart develops a conversational interplay. The solo violin presents the main themes with embellishments, including rapid passagework, broken chords, and flourishes that highlight virtuosity while still maintaining elegance.
The orchestration is fuller, with strings and oboes supporting the harmonic structure and horns reinforcing the brilliant sonority of D major. The form follows the expected ritornello-sonata scheme, but Mozart’s transitions show increasing fluency, with smoother modulations and more imaginative use of sequences.
The solo cadenzas (sometimes improvised) provide moments of individuality within the framework. The Allegro moderato thus projects an atmosphere of brightness and nobility, reflecting Mozart’s emerging mastery of concerto form.
2. Andante [0:27:34]
The Andante, in G major, provides a lyrical contrast to the energetic first movement. The orchestral opening is understated, creating space for the violin to enter with a gentle, song-like theme. The solo line is expressive and flowing, resembling a vocal aria – evidence of Mozart’s operatic sensibility. The violin writing favors cantabile playing, with graceful phrasing and ornamentation that allows the performer to display expressive nuance rather than virtuosity.
The accompaniment is kept light, often with strings providing soft harmonic support, which frames the soloist’s melodic voice. This balance of restraint and lyricism reflects Mozart’s gift for turning simplicity into beauty. The harmonic progressions remain clear and stable, but small touches of chromaticism add emotional depth. The Andante conveys intimacy and poise, offering the listener a moment of reflective calm before the concerto’s lively conclusion.
3. Rondeau: Allegro [0:33:37]
The concerto concludes with a spirited Rondeau (Allegro), which alternates a cheerful recurring refrain with contrasting episodes. This rondo design, unlike the finale of Concerto No. 1, reflects the growing trend in concerto writing of the mid-1770s to provide finales with a cyclical, dance-like character.
The principal theme is lively and rhythmically buoyant, making the finale feel playful and extroverted. The solo violin displays agility through quick passagework, brilliant scales, and energetic leaps, though the demands remain within an elegant galant framework rather than pushing into overt virtuosity. Episodes provide variety in key, texture, and figuration, while the orchestra offers a bright and supportive role, ensuring balance.
The closing ritornello rounds off the concerto with clarity and exuberance, leaving a sense of joyful completion. In this finale, Mozart demonstrates both his awareness of stylistic conventions and his ability to enrich them with individuality, pointing toward the more sophisticated finales of Concertos 3-5.
Mozart’s Violin Concerto No. 3
Wolfgang Amadeus Mozart’s Violin Concerto No. 3 in G major, K. 216, was composed in September 1775 in Salzburg, when Mozart was nineteen. By this point, Mozart had fully absorbed the Italian concerto style and begun shaping it into something distinctly his own. Unlike the First Concerto (with heavy borrowing) and the lighter Second, the Third is a wholly original composition and marks a turning point toward his mature violin concertos.
The concerto retains the standard fast-slow-fast format, but each movement demonstrates greater balance, thematic invention, and expressive range. The first movement is elegant and festive, with themes that recall the clarity of Italian opera overtures. The slow movement, one of Mozart’s most lyrical, has been compared to an operatic aria, highlighting his instinct for vocal expressivity. The finale is a spirited rondo, mixing cheerful dances with more dramatic episodes.
The concerto likely premiered at Salzburg court concerts, possibly with Mozart himself as soloist. Its freshness, clarity, and structural balance have made it one of the most frequently performed of his violin concertos. It shows Mozart at the threshold of mastery, combining brilliance with expressive depth – qualities that would reach their fullest flowering in Concertos 4 and 5 later that same year.
Movements
With start times in the video:
1. Allegro [0:38:06]
The Allegro is cast in sonata form, opening with a radiant G major theme introduced by the orchestra. This festive ritornello establishes the concerto’s bright and elegant character. When the solo violin enters, it takes up the main theme in dialogue with the accompaniment, elaborating it with graceful ornamentation and agile passagework.
The music soon modulates to the dominant key of D major, providing a natural sense of expansion and brightness. Unexpectedly, Mozart ventures into the parallel D minor, adding a brief moment of drama and contrast to the otherwise sunny movement. From there, the soloist explores a variety of harmonic regions, experimenting with tonal colors without lingering too long in any one key.
Eventually, the music resolves back to G major in the recapitulation, where the opening theme returns with full clarity. The Allegro balances light-hearted charm with moments of depth, displaying Mozart’s growing mastery of form and tonal contrast.
2. Adagio [0:46:31]
The Adagio is in ternary form and set in the dominant key of D major. The orchestra introduces the main theme with a gentle, lyrical character, which the solo violin then imitates one octave higher, enhancing its vocal quality. A contrasting idea follows as the winds present a dance-like motif in A major, answered and completed by the violin.
The soloist then restates the main theme in A major, but with a striking alteration: the melody uses A-sharp instead of A-natural, briefly shifting the harmony into B minor before resolving back into A major. The music gradually returns to D major, with the main theme reasserted to restore calm and stability. After the solo cadenza, the violin plays the theme once more, bringing the movement to a serene close in the home key.
Notably, this is the only movement across Mozart’s five violin concertos to feature a pair of flutes instead of oboes, giving it a uniquely delicate and airy texture.
3. Rondeau: Allegro [0:53:18]
The finale is a lively rondo in G major, set in 3/8 time, giving it a graceful, dance-like character. The recurring main theme is cheerful and light, returning throughout the movement to anchor the contrasting episodes. In a striking departure, Mozart introduces a short Andante section in G minor, which shifts the mood to one of brief poignancy and introspection.
This minor-key passage interrupts the rondo’s brightness with unexpected drama, before giving way to a longer Allegretto section in G major, written in cut time. The Allegretto brings a rustic, folk-like character, full of charm and rhythmic vitality, before the music seamlessly transitions back to the rondo refrain. The return of the principal theme re-establishes the festive spirit, and the movement concludes with brilliance and energy.
This inventive use of contrasting interludes within the rondo form highlights Mozart’s growing sophistication and playful creativity in concerto writing.
Mozart’s Violin Concerto No. 4
Wolfgang Amadeus Mozart’s Violin Concerto No. 4 in D major, K. 218, was composed in 1775 in Salzburg, during a remarkable period when Mozart wrote four violin concertos in quick succession. The autograph manuscript survives today in the Biblioteka Jagiellońska in Kraków. Originally, the concerto appears to have been composed for Mozart himself to perform.
However, after leaving his position in the Salzburg Court Orchestra, he revised and updated the work for his successor, Antonio Brunetti, who had a reputation as a technically accomplished violinist. This raises debate among scholars as to whether the concerto was initially beyond Mozart’s own technical limits or if he deliberately heightened its difficulty to suit Brunetti’s virtuosity.
The concerto follows the standard fast-slow-fast design, lasting around 23 minutes. The first movement is sometimes nicknamed the “military” concerto for its march-like rhythm and bugle-call gestures. The second movement is a lyrical Andante cantabile in A major, marked by long-breathed, melodic violin lines.
The finale, a spirited Rondeau, blends elegance with playful energy, alternating between graceful Andante grazioso sections and livelier Allegro episodes. Overall, the Fourth Concerto combines nobility, lyrical beauty, and wit, placing it among the most popular of Mozart’s violin concertos.
Movements
With start times in the video:
1. Allegro [0:59:37]
The Allegro opens with an orchestral ritornello in D major, immediately establishing the movement’s distinctive “military” character. The march-like rhythm and bugle-call motifs give the opening a festive, ceremonial feel. The solo violin enters by echoing the orchestral material, then expands upon it with brilliant passagework, arpeggios, and quick runs that highlight virtuosity.
Structurally, the movement follows sonata form, with the main theme introduced in D major, a modulation to the dominant A major, and an exploration of related tonal areas before returning to the tonic in the recapitulation. While energetic and extroverted, the music also contains lyrical episodes, giving the violin a chance to sing as well as dazzle.
The cadenza near the close allows the soloist to showcase technical mastery before the full orchestra restates the opening material. The martial rhythms and festive character make this Allegro one of the most striking concerto openings in Mozart’s violin works.
2. Andante cantabile [1:07:25]
The Andante cantabile, in A major, contrasts sharply with the vigorous first movement. It is lyrical and serene, with the violin given long, flowing melodic lines that resemble an operatic aria. The orchestra provides a gentle, understated accompaniment, allowing the solo violin’s cantabile voice to dominate.
The form is simple and balanced, emphasizing clarity and melodic beauty rather than technical display. The soloist’s lines are richly ornamented, giving the impression of spontaneous expressivity, yet always within Mozart’s elegant framework. The use of subtle harmonic shifts adds emotional depth without disturbing the overall calm.
This movement demonstrates Mozart’s ability to create intimate, vocal-style writing for the violin, drawing on his operatic sensibilities. Its contemplative mood serves as a lyrical centerpiece to the concerto, highlighting the expressive, songlike qualities of the instrument and offering the listener a moment of stillness before the playful finale.
3. Rondeau: Andante grazioso [1:13:15]
The finale is a graceful Rondeau in D major, alternating between a refined Andante grazioso refrain and livelier Allegro ma non troppo episodes. The recurring rondo theme has an elegant, dance-like character, setting a light and charming tone. The solo violin introduces playful variations, with quick passagework, lively scales, and rhythmic contrasts that keep the music fresh.
The alternating episodes bring variety, some more energetic and extroverted, others lyrical, but always maintaining the overall graceful character of the movement. Particularly striking is Mozart’s ability to combine wit and elegance, creating a finale that feels both joyful and sophisticated.
Unlike the martial opening of the first movement, this closing section emphasizes refinement and cheerfulness, ending the concerto on a note of spirited fun. The Rondeau thus ties together the concerto’s contrasts – military vigor, lyrical song, and playful elegance – into a cohesive and satisfying whole.
Mozart’s Violin Concerto No. 5
Wolfgang Amadeus Mozart’s Violin Concerto No. 5 in A major, K. 219, was composed in 1775, the culmination of a burst of concerto writing in which he produced all five of his violin concertos within nine months. Mozart’s practical connection with the violin began early, guided by his father Leopold Mozart, himself a renowned violinist and author of the important treatise A Treatise on the Fundamentals of Violin Playing (1756).
Wolfgang’s exposure to Italian virtuosi such as Giuseppe Tartini, Pietro Locatelli, and Pietro Nardini, as well as his friendship with the English prodigy Thomas Linley, spurred him to compose seriously for the violin.
Unlike the earlier concertos (K. 207 and 211), which still leaned on Rococo and Baroque models, the Fifth Concerto demonstrates originality, cosmopolitan flair, and imaginative use of form. Mozart experiments with sudden tempo and meter changes, blending Italian lyricism with French elegance, and even introducing “Turkish” exoticism.
The concerto’s first movement features a highly unusual Adagio solo entry; the slow second movement is one of lyrical contemplation; and the finale includes a famous “Turkish” episode with percussive col legno effects. These innovations reveal Mozart’s creative mastery at age nineteen and explain why this work is often regarded as his finest violin concerto.
Movements
With start times in the video:
1. Allegro aperto – Adagio – Allegro aperto [1:20:45]
The first movement opens in A major with a majestic Allegro aperto, a marking rare in Mozart’s instrumental music but common in his operas, suggesting a broad and brilliant style. The orchestra introduces a festive, march-like theme before the soloist enters unexpectedly with a dolce Adagio passage – a striking anomaly in Mozart’s concerto writing.
This brief lyrical interlude, accompanied delicately by the orchestra, shifts the mood completely before the Allegro returns. Here, Mozart reveals that the supposed first theme (a rising orchestral arpeggio) is actually an accompaniment: the true first theme is sung by the solo violin, now woven into the orchestral texture.
The remainder of the movement follows sonata form, with modulation to the dominant E major, excursions into contrasting keys, and a confident recapitulation in the tonic. The bold contrasts of tempo, mood, and texture mark this as one of Mozart’s most imaginative concerto openings.
2. Adagio (E major) [1:29:48]
The Adagio, set in the distant key of E major, is written in three-part song form and provides one of Mozart’s most serene slow movements. The orchestral introduction is minimal, allowing the solo violin to take on a vocal, aria-like role, spinning out long, expressive lines. The style reflects Mozart’s deep immersion in Italian opera, where lyrical melody was paramount.
The violin part emphasizes sweetness and sustained phrasing over virtuosity, with opportunities for delicate ornamentation and subtle nuance. The harmonic framework is simple but enriched with touches of chromaticism, giving the music an introspective, almost sacred quality. The use of E major, remote from the home key of A major, enhances the sense of stillness and otherworldliness.
This Adagio stands as a lyrical centerpiece of the concerto, offering a moment of intimate reflection before the exuberant and experimental finale.
3. Rondeau – Tempo di minuetto [1:39:21]
The finale is a Rondeau in Tempo di minuetto, beginning with a graceful minuet theme in A major that recurs throughout the movement. The refrain alternates with contrasting episodes, each adding variety and color.
The most remarkable feature is the central “Turkish” episode, where Mozart dramatically shifts to A minor, changes the meter from 3/4 to 2/4, and creates percussive effects by instructing the cellos and basses to play col legno (with the wood of the bow). Chromatic runs, insistent rhythms, and repeated short motifs intensify the exotic atmosphere, evoking the sound of Janissary bands popular in Vienna at the time.
After this startling diversion, the graceful minuet theme returns, restoring elegance and balance. The concerto ends quietly with the final restatement of the rondo theme. This inventive finale, mixing refinement with theatrical exoticism, earned the work its nickname: the “Turkish Concerto.”
Sources
- Violin Concerto No. 1 (Mozart) on Wikipedia
- “Mozart’s Violin Concerto No. 1” on the Boston Symphony Orchestra’s website
- Violin Concerto No. 2 (Mozart) on Wikipedia
- “Mozart’s Violin Concerto No. 2 In D Major: The Greatest Of The Four” on the Mozart Project website
- Violin Concerto No. 2 in D major, K. 211 (Mozart, Wolfgang Amadeus) on the International Music Score Library Project website
- “Wolfgang Amadeus Mozart: Violin Concerto No. 2 in D major, K. 211” on the All Music website
- “Mozart Violin Concerto No. 2 in D, K. 211” on the Fugue for Thought website
- Violin Concerto No. 3 (Mozart) on Wikipedia
- Violin Concerto No. 3 in G major, K.216 (Mozart, Wolfgang Amadeus) on the International Music Score Library Project website
- Is the Mozart Violin Concerto No. 3 difficult? on the Violinist.com website
- Mozart’s Violin Concerto No. 4 (Mozart) on Wikipedia
- Violin Concerto No. 4 in D major, K. 218 (Mozart, Wolfgang Amadeus) on the International Music Score Library Project website
- Violin Concerto No. 5 (Mozart) on Wikipedia
- Violin Concerto No. 5 in A major, K.219 (Mozart, Wolfgang Amadeus) on the International Music Score Library Project website
- Violin Concerto No. 5, “Turkish” (Wolfgang Amadeus MOZART) on the L.A. Phil website
