Tchaikovsky: Violin Concerto [Vengerov, Rostropovich]

Accompanied by the London Philharmonic Orchestra, Maxim Vengerov plays Pyotr Ilyich Tchaikovsky’s Violin Concerto in D major, Op. 35. Conductor: the legendary Mstislav Rostropovich. This performance was recorded on October 18, 1998, for a tribute concert to Sir Georg Solti (21 October 1912 – 5 September 1997) at the Royal Albert Hall, London.

Tchaikovsky’s Violin Concerto

Pyotr Ilyich Tchaikovsky’s Violin Concerto in D major, Op. 35 is one of the most celebrated works in the violin repertoire, though its path to acceptance was far from smooth. Composed in 1878, it was written during a period of personal recovery for Tchaikovsky, following the collapse of his brief marriage. He retreated to the Swiss resort of Clarens, where the violinist Iosif Kotek, a former student and friend, inspired him to take up the idea of writing a violin concerto.

The work was initially dedicated to the famed virtuoso Leopold Auer, but Auer deemed it unplayable and refused to premiere it. This rejection delayed the concerto’s debut and added to its early notoriety. The first performance eventually took place in Vienna in 1881, with Adolph Brodsky as soloist, but the reception was harsh. The influential critic Eduard Hanslick famously attacked it, claiming parts of it “stank to the ear.” Despite such condemnation, Brodsky continued to champion the work, and gradually it won over audiences and violinists alike.

Today, the concerto is revered for its blend of technical brilliance and heartfelt lyricism. It demands exceptional virtuosity from the soloist, with passages of rapid runs, double stops, and soaring high notes, yet it never descends into mere showmanship. Tchaikovsky’s gift for melody infuses the piece with warmth and emotional depth, giving it a distinctive singing quality.

Its orchestration is luminous, allowing the violin to shine while maintaining a rich interplay with the orchestra. The concerto embodies both Russian folk-inflected charm and the grandeur of the Romantic era. Once scorned, it is now considered a cornerstone of the violin repertoire, embraced by nearly every major violinist and beloved by audiences worldwide.

Movements

1. Allegro moderato

The first movement of Tchaikovsky’s Violin Concerto in D major, Op. 35 opens with a gentle orchestral introduction that sets a warm, lyrical tone before the soloist enters. The main theme, introduced by the woodwinds, has a pastoral charm and ease that contrasts with the virtuosic brilliance to come. When the violin makes its entrance, it does so with an ornamented restatement of the theme, instantly establishing the soloist as both singer and storyteller.

Throughout the movement, Tchaikovsky balances expansive, song-like melodies with dazzling technical demands. The soloist must navigate rapid scales, arpeggios, and double stops, all seamlessly integrated into the music’s flow. The writing feels idiomatic for the violin, likely shaped by the input of Iosif Kotek during its creation. The interplay between soloist and orchestra is dynamic – sometimes the orchestra supports with a delicate cushion of sound, while at other times it engages in energetic dialogue with the violin.

The movement’s character shifts fluidly between lyrical warmth and bursts of fiery energy. Tchaikovsky’s gift for melody ensures that even the most technically challenging passages retain a singing quality, avoiding mechanical display. The development section explores the main themes in varied keys and textures, often pushing the violin into its highest registers, creating moments of intense emotional and dramatic impact.

A striking feature is the written-out cadenza, placed before the recapitulation rather than at the very end. This gives the soloist a moment to shine alone, displaying technical brilliance while reinterpreting the themes. The cadenza leads back into the return of the main material, now enriched by the journey taken.

The movement closes with a spirited conclusion, bringing together its lyrical and virtuosic elements in a jubilant finish. It leaves the listener both satisfied and anticipating what the rest of the concerto will bring.

2. Canzonetta: Andante

The second movement of Tchaikovsky’s Violin Concerto in D major, Op. 35 offers a striking contrast to the brilliance and vigor of the first. Marked Canzonetta (meaning “little song”), it is intimate and songlike, imbued with a sense of tender melancholy. The orchestral introduction is gentle, setting a subdued, almost wistful mood before the solo violin enters with the main theme – a flowing, lyrical melody of great simplicity and emotional depth.

Here, Tchaikovsky allows the violin to function as a pure singer, focusing less on technical display and more on expressive nuance. The melodic line is long-breathed and unhurried, shaped with subtle rubato and dynamic shading. The accompaniment is kept light and transparent, often featuring delicate woodwind writing that interacts gracefully with the soloist.

While the overall tone is calm and reflective, there are moments where the harmony darkens and the emotions deepen. The violin explores the theme with small embellishments and expressive slides, maintaining a deeply personal voice. The movement avoids dramatic outbursts, instead sustaining a gentle conversational quality between soloist and orchestra.

Midway through, there is a brief contrasting section in a more flowing tempo, introducing a slightly brighter color before the opening theme returns. This reprise feels even more poignant, as if the music has reflected on its earlier thoughts and now delivers them with greater resignation or sweetness.

The movement ends quietly, with the violin fading into the orchestra’s soft chords. This moment of stillness serves as a delicate emotional bridge, preparing the listener for the energetic and joyous finale.

3. Finale: Allegro vivacissimo

The finale of Tchaikovsky’s Violin Concerto in D major, Op. 35 bursts forth with exuberance and rhythmic vitality, providing a triumphant conclusion to the work. Marked Allegro vivacissimo, it has the spirit of a lively Russian dance, infused with folk-inspired rhythms and melodies that demand both precision and stamina from the soloist.

From the very start, the violin launches into an energetic, syncopated theme, punctuated by sharp accents and rapid string crossings. The orchestral accompaniment mirrors this drive, propelling the music forward with buoyant rhythms and crisp articulation. The interplay between soloist and orchestra is almost playful at times, as if engaging in a joyful chase.

Tchaikovsky balances the movement’s relentless energy with contrasting lyrical episodes. In these passages, the violin sings out warmly, offering a brief respite from the whirlwind of motion before being swept back into the dance. This alternation between spirited drive and melodic charm keeps the listener engaged and showcases the soloist’s versatility.

Technically, the finale is a showcase of virtuosity – rapid passages, high-register leaps, spiccato bowing, and quick changes in character appear in rapid succession. Yet the music never feels like mere display; every flourish serves the joyous, festive atmosphere. The folk flavor is unmistakable, with rhythms and melodic turns that recall Russian traditional music.

As the movement nears its conclusion, the energy builds irresistibly. The tempo pushes forward, the orchestra and violin locked in a vibrant partnership. In a final burst of speed and brilliance, the concerto ends with a dazzling flourish, leaving an impression of exuberant celebration.

This finale transforms the concerto’s earlier introspection into an unrestrained expression of joy, ensuring the work closes on a note of pure exhilaration.

Sources

• Violin Concerto (Tchaikovsky) on Wikipedia
• Violin Concerto, Op.35 (Tchaikovsky, Pyotr) on the International Music Score Library Project website
• “Violin Concerto” on the Tchaikovsky Research website
• “Tchaikovsky Violin Concerto: Amazing Violin Pyrotechnics” on the Favorite Classical Composers website