KNOW YOUR CLASSICS

New Zealand Listener, Volume 19, Issue 476, 6 August 1948, Page 19

KNOW YOUR CLASSICS

THIS series of articles, written for "The Listener'

by

BESSIE

POLLARD

is designed to help the student and the interested

listener towards a more complete appreciation of good music, Each article deals in outline with one accepted masterpiece and illustrates its main themes. (5): Violin Concerto in D, Op. 61 (Beethoven) EETHOVEN wrote the Concerto in D, Op. 61, im 1806, for the Austrian violinist Franz Clement, who performed it for the first time at a concert in the Theatre an der Wien on December 23 of that year. Beethoven, with his usual tardiness in finishing compositions for solo players, did not have the Concerto ready in time for rehearsal, and Clement played it at the concert at sight. The Concerta dates from that prolific second period of Beethoven’s that produced the Fifth and Sixth Symphonies, the "Appassionata’" Sonata, and the Opera Fidelio. The first movement begins with a five-note drum motto-figure (a)-this germ theme is the very heart of the movement. This is followed immediately by the main subject (b)-~ ‘ ~~

After some scale passages and an orchestral tutti, the second theme is announced by wood-wind and horns. Notice the manner in which the mottofigure accompanies this subject-

The working-out section is long and elaborate. ‘ The second movement-Larghetto-rather resembles Variations form, with the theme almost entirely taken over by the orchestra, while the soloist embellishes with elaborate figuration. The theme begins- . . y

At theend of the slow movement, a sudden fortissimo, a brief cadenza, | and we ate plunged into the exhilarating main theme of the Rondo-finale- -_

There is a decided folk-dance tinge to the whole movement. The second > theme suggests hunting calls, while the third, given out by the soloist, is rather nostalgic and sentimental- eee a Pe

Near the end there is provision for the insertion of a free cadenza, Viewed as a whole the Concerto is sublimely unpretentious, with its loveliness enshrined within. At no point do we find the orchestra used as a mere accompanying vehicle, but soloist and orchestral forces are equal in importance. BEETHOVEN’S CONCERTO FOR VIOLIN AND ORCHESTRA in D, OP. 61, will be heard from Station 2YH Napier on Wednesday, August 11, at 9.30 p.m.