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Mozart: Violin Concerto no. 3 in G (Part II)

© Yen Loong Teoh

We will continue to explore Mozart's most beloved violin concerto in a musical sense. It would be appropriate to emphasize again that this is a concerto where Mozart composed rather freely and not conservatively, and so surprises lurk everywhere.

The first movement, Allegro, starts off by immediately introducing the main theme, played by the strings of the orchestra. After a minute or so, the orchestral introduction is greeted by the soloist, repeating the main theme again. The first note of the main theme is a chord of D-B-G', requiring the soloist to crash on the string. Ultimately this is an utter declaration of freedom and free will. And this dramatic effect is followed by softer lyrical playing of the melody. Overall, the whole melody sounds so catching -- it is a mixture of Viennese grandeur with chamber elegance. Of course, it depends on the soloist as to how to bring the music out. Vibrato and wide range of dynamics could be used to the extent that every note sounds vibrating and romantic; or they could be used restrictively so as to bring the 'classical' characteristic of Mozartian elegence. After all this concerto is free for the soloist to interpret. After the soloist and orchestra exchange few phrases, the key turns to minor. This does not make the whole movement melancholic; instead, the twist makes it even more graceful, since it precedes the second theme which is in major key. The second theme is ultimately graceful and easy-going. If the soloist could project this part sensitively, the theme will soar like a soprano singer. After this part comes back our main theme again, and just slightly different from the first introduction. After the cadenza which should last for the most 3 minutes, within a minute the movement ends triumphantly.

The adagio is yet another sublime inspiration of our typical Mozart. Much can be said about this movement: evocative, elegant, but never reaching the extreme of emotions. Soft and dignified is the orchestral introduction of the first theme, and then the violin chips in easily. In the middle part of movement, where Mozart changed the key to a minor one, the tune became a heart wrenching one. But this does not last long. The original theme is repeated again, with some variations added but not too prominently. The entire movement has an operatic quality -- the tune could be sung and remembered so easily.

We have rondo allegro for the third movement. The orchestra boldly plays the introduction and within half a minute, we have a brilliant introduction, a playful dance, and a sharp climax. Then the violin comes in, playing a slight variation of the theme, adding thrills here and there that gives the tune an ornamental quality. The improvisation by Mozart, can be said, so appeasing to the ears. When the whole theme is finished, it is repeated by the orchestra, then the for the violin part, it turns to a minor key. Surprisingly, the joyous feeling is immediately changed to a melancholic one, but smoothly and easily. The tune is serious, and even gives some hint of Mozart's Requiem Mass. But this shadow does not last long -- for the sunny melody comes back again, and played along with slight variation. After this, a whole new melody, totally unrelated to the original theme, is inserted into the middle of the movement. At first it gives a 'romantic' feeling in minor, then it gives an elated violin spiccato in major. This is surprising, but interesting. Subsequently, the movement continues with the original theme with various alterations. Before the movement ends, the introductory part of the main theme is played again. Thus the movement is ended with a feeling of completion.

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