Accompanied by the Orchestre Philharmonique de Radio France (Radio France Philharmonic Orchestra), German violinist Julia Fischer performs Violin Concerto in D major, Op. 35 by Pyotr Ilyich Tchaikovsky. Conductor: Vasily Petrenko.
Tchaikovsky’s Violin Concerto in D major, Op. 35
Written in 1878, it is one of the best-known violin concertos and is considered one of the most technically difficult works for the violin. It is scored for two flutes, two oboes, two clarinets in A and B-flat, two bassoons, four horns in F, two trumpets in D, timpani, and strings.
The first performance was given by the Russian Empire violinist Adolph Brodsky (2 April [O.S. 21 March] 1851 – January 22, 1929) on December 4, 1881, in Vienna, under the baton of Hans Richter (János Richter) (4 April 1843 – 5 December 1916), the Austrian-Hungarian orchestral and operatic conductor. But Karel Halíř (1 February 1859 – 21 December 1909), the Czech violinist was who made the work popular with the public and won a place for it in the repertoire.
Halíř also premiered the revised version of the Sibelius Violin Concerto in 1905. When Tchaikovsky attended a Leipzig performance of the work in 1888, with Haliř as a soloist, he called the event “a memorable day”.
Movements
Tchaikovsky’s Violin Concerto follows the typical pattern of a fast movement, then a slow movement, then a fast finale. The three movements are:
1. Allegro moderato (D major)
The first movement of Tchaikovsky’s Violin Concerto in D major, Op. 35, titled “Allegro moderato”, is one of the most celebrated and technically demanding works in the violin repertoire. Composed in 1878, it begins with a serene orchestral introduction, setting a gentle, lyrical mood before the solo violin enters with a soaring and expressive theme.
This movement is characterized by a balance of passionate intensity and lyrical beauty, reflecting Tchaikovsky’s mastery of emotional depth. The violin part features rapid passages, wide leaps, and intricate double stops, showcasing both technical skill and expressive phrasing. The interplay between the soloist and orchestra is dynamic, with the violin leading and responding to orchestral themes.
A notable feature of the first movement is the cadenza, where the soloist is given the spotlight to display virtuosic skills in an improvisatory style. This cadenza leads to a fiery conclusion, bringing the movement to an exhilarating close.
Though initially criticized by violinist Leopold Auer for being too challenging, it has since become a cornerstone of the violin concerto repertoire. Today, it is revered for its beauty, emotional richness, and technical demands, making it a favorite among performers and audiences alike.
2. Canzonetta: Andante (G minor)
The second movement of Tchaikovsky’s Violin Concerto in D major, Op. 35, is titled “Canzonetta: Andante”. This movement provides a marked contrast to the vibrant energy of the first. It is much more lyrical and introspective, embodying a melancholic and reflective mood.
The Canzonetta begins with the violin introducing a tender, song-like melody, while the orchestra provides a subdued and supportive background. The movement is relatively short, but its simple, elegant beauty allows the violinist to express deep emotion. The theme carries a bittersweet, almost wistful quality, revealing Tchaikovsky’s characteristic emotional depth.
As the movement progresses, the solo violin delivers rich, melodic lines filled with subtle nuances. The interplay between the violin and orchestra is delicate, and the restrained orchestration allows the soloist’s expressive phrasing to stand out. The Canzonetta serves as a lyrical interlude between the energetic outer movements.
Toward the end, the movement leads directly into the third movement without a break, setting the stage for the lively conclusion of the concerto. The second movement is often praised for its simplicity and emotional transparency, showcasing a different side of Tchaikovsky’s compositional style.
3. Finale: Allegro vivacissimo (D major)
The third movement of Tchaikovsky’s Violin Concerto in D major, Op. 35, titled “Allegro vivacissimo”, is a vibrant and energetic finale that brings the concerto to an exhilarating conclusion. It is a rondo form, characterized by a recurring main theme that alternates with contrasting sections. The movement begins with an explosion of energy, as the violin launches into a spirited and dance-like theme, accompanied by a lively orchestral backdrop.
This movement is full of rhythmic vitality and showcases Tchaikovsky’s ability to blend Russian folk elements with classical structure. The solo violin is given a virtuosic role, with fast-paced passages, brilliant runs, and dazzling double stops. The interplay between the soloist and orchestra is playful, with the violin often leading the way and the orchestra responding in kind.
Despite its technical challenges, the movement retains a sense of joy and lightness. The dynamic shifts between the main theme and the contrasting sections keep the listener engaged, while the violinist’s rapid, dexterous playing highlights the technical brilliance required to perform the piece.
As the movement progresses, the intensity builds, leading to a thrilling and triumphant finish, concluding the concerto on a high note. This movement is a celebration of both technical mastery and infectious energy, making it a crowd-pleaser in performances.
Sources
- Violin Concerto (Tchaikovsky) on Wikipedia
- Violin Concerto, Op. 35 (Tchaikovsky, Pyotr) on the International Music Score Library Project
- Violin Concerto on the Tchaikovsky Research website
