For five consecutive issues I haven’t posted any classical music. With the Olympics over, and as a sign that life is returning to normal, let’s bring classical music back to the blog homepage again~
Speaking of classical music, apart from Bach, the composer I’ve listened to most is probably Mozart. Maybe the total time I’ve spent listening to Mozart is even greater. But looking back, I realized that I’ve reposted Bach’s works here five times, yet not once have I posted Mozart. That seems a little hard to justify… So, a Mozart piece it is!
Mozart’s Fifth Violin Concerto is a fine one, and conveniently there’s a complete, high-speed link to be found online, so here it is!
I’ve also included below an introduction I found online.
http://www.bjidea.cn/music/song/xzq/mzt_xtqxzqK219_3.mp3
http://www.xici.net/b612089/d43623017.htm
Mozart: Violin Concerto No. 5
MOZART: Violin Concerto No.5
Mozart’s Violin Concerto No. 5, in A major, K219, was composed on December 20, 1775. It has three movements:
1. Allegro aperto, in A major, concerto-sonata form. It begins with the orchestra forcefully sounding the tonic triad; after the first violins pluck out an arpeggiated tonic chord, the solo violin states the first theme. The orchestra plays the transition, and the first violins present the second theme in the tonic key; after another transitional passage in the full orchestra, a staccato closing figure is formed. Entering the slow section, the solo violin plays a gentle melody, accompanied by the violins in sixteenth-note figures. Returning to the Allegro, the solo violin states the second theme under contrapuntal voices. After the second half is presented by the oboes, the soloist takes over with rapid note groups, answered by the full orchestra. In the development section, the solo violin introduces a new melody; over brilliant rapid figures in the solo part, the full orchestra develops the exposition and enters a transitional figure. The solo violin brings the first theme into the recapitulation, where the second theme appears in the tonic key, and the rest returns in the original manner. After the cadenza, it ends with the figure from the exposition’s coda.
2. Adagio, in E major. The first violins first state the first theme; moving to the second-theme section, a finely wrought and delicate figure appears centered on the first violins, and after the full orchestra takes over, the exposition comes to a close. The solo violin restates the first theme and recreates the pleasure of the subordinate theme. The development begins with a figure from the first theme, which the solo violin transforms; after being taken over by the second and first violins, the subordinate theme also returns in the tonic key. The coda of the full orchestra ends with the original figure.
3. Rondo, Minuet, in A major. The minuet theme is presented by the solo violin over string accompaniment, and after the full orchestra repeats it once, the solo violin plays a new figure; after brilliant rapid passages, the theme returns. The theme appears for a third time in full-orchestra fashion. The middle section is an Allegro in A minor; led by the full orchestra, the solo violin first plays rapid passages, repeated four times, after which the full orchestra centered on the first violins plays lively Gypsy-style figures. After chromatic motion, the solo violin plays ornate rapid passages, and the orchestra again plays Gypsy-like music, repeated in this way. Returning once more to the minuet, after extended rapid passages, the minuet theme is stated again, with triplets drawing particular attention. The concluding section uses a solo figure based on the melody that ends the minuet theme, bringing it warmly to a close.
Translated from the Chinese original with AI assistance. The original text is authoritative.
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