Accompanied by the hr-Sinfonieorchester (Frankfurt Radio Symphony Orchestra), Moldovan-Austrian violinist Patricia Kopatchinskaja performs Igor Stravinsky’s Violin Concerto in D major, a neoclassical violin concerto in four movements. Conductor: Andrés Orozco-Estrada. Recorded at Alte Oper Frankfurt on December 12, 2014.

Accompanied by the hr-Sinfonieorchester (Frankfurt Radio Symphony Orchestra), Moldovan-Austrian violinist Patricia Kopatchinskaja performs Igor Stravinsky’s Violin Concerto in D major.

Igor Stravinsky’s Violin Concerto

The Stravinsky Violin Concerto in D Major is a work that marks a significant point in the evolution of Igor Stravinsky’s compositional style. It was composed in 1931 for the violinist Samuel Dushkin, whom Stravinsky met through his publisher. At the time, Stravinsky was living in France, having left Russia, and his work was undergoing a transformation influenced by neoclassical ideas.

This piece reflects that shift, as it embraces a clear structure, tonality, and references to older forms and styles, a distinct move away from the Russian folk influences and the primal, pulsating rhythms of his earlier ballets like “The Rite of Spring.

Stravinsky’s Violin Concerto is marked by its energetic and rhythmic character, something that was emblematic of his compositional voice. The concerto opens with a striking Toccata section, followed by two arias and a final Capriccio. Throughout these sections, Stravinsky’s concerto showcases a unique blend of playfulness and solemnity, with the violin often engaged in a lively dialogue with the orchestra.

The concerto’s technical demands on the soloist are considerable, with a need for dexterity, a rich tonal palette, and the capacity to navigate the complex interplay between soloist and orchestra. Yet, despite these demands, the music never loses its inherent musicality and connection to the dance – a trait common in much of Stravinsky’s work.

One of the distinctive features of the concerto is its use of a Baroque-like form in a modern context. Stravinsky incorporates Baroque elements not in pastiche but as a vehicle to explore and express his own musical language. The result is music that feels both timeless and contemporary, deeply rooted in the past but also entirely of its time.

The concerto was well-received and has since become a staple of the violin repertoire, admired for its innovation, clarity, and the balance it strikes between soloist and ensemble. It continues to be a touchstone for violinists seeking to explore the rich repertoire of the 20th century and is frequently performed in concert halls around the world.

Stravinsky’s own words about the concerto suggest that he saw it as an expressive and vibrant work, emphasizing its rhythmic vitality and its melodic and structural clarity. The concerto’s endurance in the concert repertoire attests to its success in capturing the imagination of both performers and audiences alike.

The Stravinsky Violin Concerto remains a testament to the composer’s genius in redefining the possibilities of concert music and his ability to synthesize historical musical forms with his own modern sensibilities. It is a work that challenges and delights in equal measure and is a profound statement from one of the 20th century’s most influential musical minds.

The work was premiered on October 23, 1931, with the American violinist and composer Samuel Dushkin (December 13, 1891 – June 24, 1976) playing the violin and the Berlin Radio Symphony Orchestra conducted by Stravinsky himself.

Dushkin also gave the work’s first US performance in January 1932, with Serge Koussevitzky conducting the Boston Symphony Orchestra. He also made the first recording of the piece in 1935, with Stravinsky conducting the Orchestre Lamoureux.

The concerto was also choreographed by George Balanchine, the Russian-born American ballet choreographer (January 22 [O.S. January 9] 1904 – April 30, 1983) as “Balustrade” in 1941. It premiered on January 22, 1941, with Colonel de Basil’s company Original Ballet Russe. In 1972 Balanchine created a new Ballet to the music, entitled “Stravinsky Violin Concerto.” It was premiered by New York City Ballet as part of the Stravinsky Festival.


The work is in four movements:

  1. Toccata
  2. Aria I
  3. Aria II
  4. Capriccio

1. Toccata

The first movement of Stravinsky’s Violin Concerto is titled “Toccata,” drawing inspiration from the keyboard toccatas of the Baroque period, which were often characterized by their virtuosic and lively nature. Stravinsky’s Toccata, however, is firmly rooted in the 20th century, displaying his signature rhythmic drive and inventive textures.

The movement opens with a distinctive chord, an A major triad juxtaposed with a D in the bass, which Stravinsky himself referred to as his “passport” to the concerto. This opening chord sets the stage for the entire concerto and is a motif that he would revisit throughout the movement. It serves not only as a thematic anchor but also as a springboard for the violin’s energetic and angular thematic material.

Following this bold introduction, the movement quickly launches into a rhythmic and dynamic interplay between the solo violin and the orchestra. The violin part is marked by its virtuosity, with brisk passage work, double stops, and sprightly rhythms that demand agility and precision from the soloist. The orchestra complements and contrasts with the soloist, often engaging in call-and-response patterns that are typical of Stravinsky’s neoclassical phase.

Despite the technical challenges, there is a sense of clarity and order in the Toccata. The textures are transparent, and the orchestration allows the solo violin to shine through. Stravinsky’s use of rhythm is both propulsive and intricate, creating a sense of forward motion while also allowing for moments of lyrical reflection.

The overall structure of the Toccata is clear and balanced, adhering to classical concerto traditions but imbued with Stravinsky’s own modern language. Melodic and harmonic elements are crafted with the composer’s characteristic economy of means, with each note serving a distinct purpose in the larger musical narrative.

In performance, the Toccata sets the tone for the concerto as a whole, presenting the soloist with a showcase of technical brilliance and musicality, while also establishing the concerto’s neoclassical ethos and Stravinsky’s individual voice within that context.

The confident and spirited Toccata movement serves as an effective gateway into the concerto, preparing listeners for the contrasting moods and textures of the subsequent movements, and highlighting the soloist’s role not just as a performer of notes, but as a dynamic and integral part of the concerto’s expressive fabric.

2. Aria I

The second movement of Stravinsky’s Violin Concerto is the first of two linked Arias, aptly named “Aria I.” This movement presents a striking contrast to the energetic Toccata that precedes it, offering a more introspective and lyrical character.

In “Aria I,” the mood shifts to a more expansive and expressive mode. The movement is built around a series of long, singing lines for the solo violin, showcasing the instrument’s capacity for nuanced phrasing and tone color. The soloist here engages in a more direct and emotive conversation with the orchestra, departing from the brisk interplay of the first movement.

Stravinsky’s Aria is not lyrical in the traditional romantic sense; it maintains his neoclassical idiom where the lyricism is contained and balanced by a certain formal detachment. The violin’s lines are elegant and arching but often contain unexpected twists and dissonances that remind the listener of the composer’s modernist inclinations.

The orchestration in “Aria I” is more subdued than in the Toccata, providing a lush but transparent backdrop for the violin. The orchestral textures support the solo line, with woodwinds, brass, and strings interacting to create a rich tapestry of sound that complements the soloist’s melodic explorations.

The harmonic language of the Aria is more chromatic and wandering than in the first movement, with Stravinsky weaving a complex network of harmonies that provides a haunting and sometimes unsettling backdrop to the violin’s melody. This harmonic environment enriches the emotional resonance of the movement, adding depth and complexity to its seemingly straightforward melodic content.

The pacing of “Aria I” is measured, with a sense of space and breadth that allows the music to breathe. The violin may take on a more rhapsodic approach, with tempo and dynamics ebbing and flowing as the movement progresses. This gives the soloist opportunities to explore a wide range of expressive nuances, making the Aria a deeply personal statement within the concerto’s structure.

Structurally, the Aria contrasts with the Toccata by unfolding more organically, less bound by rhythmic regularity, and more by the lyrical line’s natural contours. This creates a sense of improvisatory freedom, though within the disciplined framework that is a hallmark of Stravinsky’s style.

In performance, “Aria I” demands from the soloist a different set of skills than the Toccata. Here, the ability to sustain long lines, control tone, and vibrato, and shape phrases with sensitivity comes to the fore. The movement provides a moment of reflection and introspection, a respite from the rhythmic intensity of the surrounding movements, and highlights the emotional range of the concerto as a whole.

3. Aria II

The third movement of Stravinsky’s Violin Concerto is “Aria II,” which serves as a counterbalance to the first Aria. It continues the introspective nature of the concerto but with a different character and emotional landscape. While “Aria I” is marked by its lyrical expansiveness, “Aria II” is more reserved and somber in its expression.

In “Aria II,” the violin part is introspective and features a more contained line compared to the broader strokes of “Aria I.” The movement has a distinct vocal quality, reminiscent of an operatic soliloquy where the solo violin seems to be engaged in an intimate dialogue with itself as much as with the orchestra.

Stravinsky’s orchestration remains sparse and transparent here, allowing the solo violin to dominate the texture. The orchestral accompaniment provides a subdued and sometimes stark background that reflects the movement’s internalized mood. The dialogue between the violin and orchestra is less about contrast and more about collaboration, creating a blend where the soloist and ensemble often seem to breathe as one.

The harmonic language of “Aria II” is rich with dissonance and unresolved tension, yet it never feels abrasive; rather, it underscores the music’s reflective quality. The use of dissonance is carefully measured, with Stravinsky using it to add emotional depth and to underline certain dramatic moments within the movement.

The melodic material in “Aria II” is characterized by its sinuous quality, with lines that twist and turn, often unexpectedly. The movement’s form is more free-flowing than the preceding Arias, with a structure that feels improvised and spontaneous, though it is, in fact, meticulously composed. This free-form feeling adds to the contemplative nature of the Aria, inviting the listener into a more introspective space.

In terms of pacing, “Aria II” moves at a deliberate tempo, which allows for moments of stillness and contemplation. The rhythm is flexible, often following the natural accents of the melody rather than a strict metrical pattern. This fluidity in rhythm and tempo enhances the movement’s meditative character.

For the soloist, “Aria II” presents a challenge in maintaining intensity and focus throughout the movement’s quieter dynamics and more subtle expressions. The performer must convey the music’s undercurrent of emotion without the support of large gestures or overt virtuosity, relying instead on subtle variations in tone and phrasing to communicate the music’s depth.

Together with the other movements, “Aria II” contributes to the overall balance and contrast of the concerto, showcasing Stravinsky’s ability to craft a work that is both diverse in its emotional range and coherent in its totality. The placement of “Aria II” sets up the transition to the concerto’s final movement, the “Capriccio,” which will return to a more extroverted and rhythmic character, thus bringing the concerto full circle.

4. Capriccio

The fourth and final movement of Stravinsky’s Violin Concerto is the “Capriccio,” a spirited and vivacious movement that brings the concerto to a lively and emphatic conclusion. Following the reflective and more subdued nature of the two Arias, the Capriccio reawakens the energy and rhythmic drive of the opening Toccata, but with its own distinctive character and sense of finality.

The term “capriccio” often implies a whimsical or capricious quality, and Stravinsky infuses this movement with a playful and almost impetuous spirit. The music bursts forth with a bright and bold opening, the violin reasserting itself with a sense of renewed vigor. The soloist is immediately thrust into a series of rapid-fire passages that display a brilliant technique and showcase the violin’s virtuosic capabilities.

The orchestration is bright and robust, with Stravinsky using the full palette of the orchestra to create a rich tapestry of sound that supports and amplifies the solo violin. The orchestral forces are engaged in a dynamic and rhythmically complex dialogue with the soloist, featuring punctuated accents, syncopations, and brisk motifs that hark back to the dance-like elements prevalent in Stravinsky’s work.

Harmonically, the “Capriccio” is playful and inventive, with Stravinsky employing unexpected harmonic shifts and agile modulations that keep the music constantly on the move. This harmonic agility contributes to the movement’s overall sense of excitement and unpredictability.

The structure of the Capriccio is marked by its drive and forward momentum. While the music often dances forward, there are also moments of repose where the soloist engages in more lyrical, though still animated, interludes. These moments serve as brief oases of melody before the rush of the primary thematic material reasserts itself.

In terms of rhythm, the “Capriccio” is highly rhythmic and energetic, with a propulsive force that drives towards the concerto’s conclusion. The rhythmic patterns are intricate and require precise coordination between the soloist and orchestra, making it a dazzling display of musical partnership and timing.

The solo violin’s part in the “Capriccio” is technically demanding, filled with rapid note sequences, double stops, and challenging intervals that demand a high level of technical prowess and stamina from the performer. The soloist must navigate these challenges while maintaining musicality and character, ensuring that the movement sparkles with the capricious energy that its title suggests.

As the “Capriccio” progresses, the music builds to a climactic conclusion, with the soloist and orchestra converging in a powerful and triumphant finale. The movement serves not only as a technical showpiece for the violin but also as a culmination of the concerto’s musical journey, bringing the work to a close with a sense of completeness and exuberance.

The “Capriccio” is emblematic of Stravinsky’s compositional mastery, his ability to craft music that is at once structurally sound, emotionally engaging, and capable of showcasing the soloist’s abilities to the fullest. The movement’s conclusion leaves the listener with a sense of having experienced a work that is both intellectually satisfying and viscerally thrilling.


M. Özgür Nevres

Published by M. Özgür Nevres

I am Özgür Nevres, a software engineer, a former road racing cyclist, and also an amateur musician. I opened to share my favorite music. I also take care of stray cats & dogs. This website's all income goes directly to our furry friends. Please consider supporting me on Patreon, so I can help more animals!

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