Violin & Cello Concertos

Abstract

The delightful C major Violin Concerto, like various other Haydn's concerti only relatively recently rediscovered, was composed for the well-known Italian violinist Luigi Tommasini. The exact date of composition is unknown—it has been ascribed to the year 1769, but only because it appears in a publisher's catalog for that year. No matter when it was composed, it is certainly one of the most attractive concerti (of Haydn's or otherwise) from the middle of the eighteenth century.

The opening movement is energetic and regal, as one would expect from its C major tonality, with virtuoso writing more in the Italian tradition than the northern one—the solo part has wide melodic leaps, long strings of harmonic sequences, and frequent arpeggiation. The slow movement has become somewhat famous on its own, and rightly so. It is cast in three sections, and the opening and closing sections are built on a simple rising idea in the violin part, supported by a repetitive accompaniment which crescendos to a climax along with the soloist. The central section is sweetly lyrical, with the strings providing gentle support for the violinist's musings. There is an opportunity for the soloist to insert a brief cadenza shortly before the close of the movement. The finale, a lively romp in 3/8 time, is technically quite difficult (and would have been exceedingly troublesome for violinists of the day). Haydn is credited with four violin concertos, the second of which has been completely lost. This, ostensibly the last of the series, may not be by Haydn; musicologists point out that the idiom is more old-fashioned than that of the other two survivors, which were also written in the 1760s. This could mean, of course, merely that Haydn wrote it before the others. It begins, Allegro moderato, with a flowing theme that pours out of a sharp opening chord. This winds its way smoothly through a number of closely related episodes that never completely break off into full-fledged secondary subjects. This material is introduced concisely by the orchestra, then taken up by the soloist, who gives it an even more ornate treatment. The development covers all this ground again, but now the violinist gives it a more plaintive character. The soloist leads the way through what seems to be the recapitulation, but turns out to be an extension of the development; after a pause for the cadenza, the orchestra takes charge (mostly) for the true, brief recapitulation. The Adagio movement is a moderately embellished violin aria, with an ever-so-slightly troubled middle section that flirts with minor keys and gives the soloist a much more ornate line. A small cadenza opportunity provides the bridge to a repeat of the first section, in which the orchestra now has a more prominent role. The final Allegro mimics the trilling, galloping style of C.P.E. Bach, complete with a couple of sudden orchestral shouts. The demanding solo part requires the violinist to be fleet and nimble through the course of this monothematic sonata-rondo, a typically Haydnesque finale despite the doubts of musicologists.