Posted August 26, 2024
Instrumentation: solo violin, piccolo, 2 flutes, 2 oboes, English horn, 2 clarinets, E-flat clarinet, 3 bassoons (+ contrabassoon), 4 horns, 3 trumpets, 3 trombones, tuba, timpani, bass drum, strings
Igor Fyodorovich Stravinsky
(Born in Lomonosov (Oranienbaum, near St. Petersburgh), Russia in 1882; died in New York in 1971)
Violin Concerto in D
- Toccata
- Aria I
- Aria II
- Capriccio
Stravinsky’s Violin Concerto had its genesis around 1930 when his publisher, Schott & Sons, suggested that he write a concerto for the Polish-born virtuoso violinist, Samuel Dushkin (1891 – 1976). Though Stravinsky wasn’t a violinist, Dushkin collaborated closely with him on technical matters for this Concerto, which was completed and premiered in late 1931. Fashioned in the then-popular Neo-Classical style – which was modelled on the refined 18th Century (and earlier) composing styles and structures – the Concerto is lyrical, jaunty, even quirky, and has been rightly popular ever since. Though a large orchestra is present onstage, in Stravinsky’s Neo-Classical style the full orchestra rarely plays all at the same time, and instead, the textures are more chamber-like. Also, Stravinsky’s intent for the soloist is more in the role of playing chamber-like duets, even as an accompanist, rather than basking in the bravura of the virtuosic limelight. As Stravinsky specified, “virtuosity for its own sake has only a small role in my Concerto.”
The first movement, Toccata (inspired by Bach’s era’s toccatas), opens with a curious wide-open chord played by the soloist – one that Dushkin at first thought was unplayable – comprised of three pitches played simultaneously and spanning a 19-note interval. This chord will figure prominently in every movement, and Stravinsky came to refer to it as the “passport to the Concerto.” The Toccata dances its way through arrays of instrumental pairings and delightful sonics, and yet its baroqueish-ness is unmistakably Stravinsky-esque, with syncopation, tunefulness, and constant flux.
The middle two movements are Aria I and Aria II (Aria meaning “song”). Each movement begins with the “passport chord” from the soloist, but from that chord each launches into wonderfully different directions. The first Aria is more frantic and fun than song-like, the second is lovely and meltingly lyrical in a modern way.
The final movement, Capriccio is indeed capricious and delightfully lives up to its name. After the “passport chord” opening, the soloist at long last lets loose with some virtuosity, launching into devilish runs at high speed. Musical episodes then change rapidly and mischievously, like running through a house of mirrors with images constantly changing. An especially charming moment occurs at about four minutes into the movement, when the first orchestral violin challenges the soloist to a virtuosic duel. This Capriccio jukes, frolics, and merrily surprises us, all the way to the final chords.
© Max Derrickson