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Mendelssohn - Violin concerto in E minor, Op. 64

Leipzig cityscape associated with Mendelssohn’s Violin Concerto in E minor premiere
Leipzig, the city Mendelssohn shaped into a European musical center and where his Violin Concerto in E minor was first performed.

Felix Mendelssohn composed his Violin Concerto in E minor, Op. 64 during the summer of 1844, following an exhausting concert tour—his eighth visit to England. He completed the work while spending a period of rest in Bad Soden, near Frankfurt, a setting that allowed him the calm necessary for focused composition.

The concerto was premiered in Leipzig on March 13, 1845, with the solo part performed by Ferdinand David, concertmaster of the Gewandhaus Orchestra and a close friend of the composer. David had worked closely with Mendelssohn on technical refinements of the violin writing, ensuring that virtuosity and musical expression remained perfectly balanced. Mendelssohn, already in fragile health, was unable to conduct the premiere, and the task was entrusted to Niels Wilhelm Gade.

This concerto stands as one of the most influential violin concertos ever written, redefining the genre through its seamless structure, lyrical focus, and technical elegance.

Movements:

I. Allegro molto appassionato

Unusually, the concerto opens immediately with the solo violin, introducing a restless yet lyrical theme hovering above the orchestral texture—an innovation that broke with Classical convention. Although written in a minor key, the music radiates energy rather than gloom.
The first theme is developed through brilliant passagework, double stops, and sweeping arpeggios. A gentler second theme emerges in the woodwinds after the violin descends to a restrained G, creating a moment of lyrical introspection.
The cadenza, placed unusually before the recapitulation, allows the unaccompanied soloist to dazzle before the orchestra returns for a powerful and dramatic conclusion.


II. Andante

The second movement unfolds in serene contrast. A warm, song-like melody dominates, tender and introspective, supported by a transparent orchestral accompaniment. Mendelssohn’s gift for lyrical writing is fully revealed here. The transition to the final movement is achieved with remarkable subtlety, without a full break in the musical flow.


III. Allegretto non troppo - Allegro molto vivace

The finale awakens gently before bursting into buoyant energy. Light, playful figures and brilliant violin writing drive the movement forward, culminating in a joyful and radiant conclusion. The concerto ends not in drama, but in elegance and exhilaration.





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