Mozart - Violin Concerto No. 2, K. 211 (1775) [Grumiaux]

Wolfgang Amadeus Mozart (27 January 1756 - 5 December 1791), baptised as Johannes Chrysostomus Wolfgangus Theophilus Mozart, was a prolific and influential composer of the classical era. According to Bartje Bartmans one of the greatest and brightest stars on the firmament.
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Violin Concerto No. 2 in D Major, K. 211 (1775)
Cadences: Arthur Grumiaux
1. Allegro moderato (0:00)
2. Andante (8:28)
3. Rondeau. Allegro (15:00)
Arthur Grumiaux, violin and the London Symphony Orchestra conducted by Sir Colin Davis
rec. May 1964
Description by John Palmer [-]
Between April 14 and December 20, 1775, Mozart composed five violin concertos. In style, they are related to his serenades from the same period. Aside from two concertos incorporated into serenades, these represent Mozart's only authentic concertos for violin and orchestra. At the time, the 19-year-old Mozart was concertmaster of the Archbishop's court orchestra in Salzburg. Thus, he may have composed the concertos for his own use as a soloist. The pieces show a gradual increase in Mozart's mastery of the genre.
The second of the concertos (D major, completed on June 14, 1775), recalls the style of the late-Baroque, resembling works by Tartini; it strikes an awkward balance between bravura flourishes and thematic presentation and development for the soloist. Each movement boasts an abundance of melodies, one after another. In general, the concerto lacks the dramatic force we hear in Mozart's piano concertos.
The opening tutti, or ritornello, of the Allegro moderato juxtaposes sections of vivacious texture with unison passages. The main theme, first played by the entire orchestra then by the soloist, jaggedly outlines the tonic triad. Mozart's secondary theme resembles Tyrolean folk music and yodeling. Hints of this new theme appear first in the orchestra before the solo violin takes over almost imperceptibly. Mozart exercises a great deal of license in the returning statements of the ritornello, varying them in several ways.
In G major, the Andante second movement is a sonata-form structure without development. Its melodic material is reminiscent of some of Mozart's arias composed at this time, particularly "L'amerò sarò costante" from Il Rè pastore.
In contrast to the opening Allegro, the closing Rondeau, marked Allegro, is light and jocular. The principal theme is minuet-like both in its 3/4 meter and pattern of repetition; all of the episodes also sound like dances. Blithe, entertaining movements are not unusual conclusions to concertos of the period, but the seriousness and ingenuity of the first movement make this Rondeau seem especially unambitious.

[@mrroneill99]

AG is one of my favourite violinists! Thanks for uploading this wonderful performance and score. ❤️🎼🎵👏☘️🇮🇪

[@jtlol1089]

0:00 Allegro Moderato
8:28 Andante
15:00 Rondo

[@kannonshane8748]

@Easton Dominik Definitely, been watching on Instaflixxer for years myself :D

[@MrGer2295]

Beautiful ! Thank you for posting 💛💚💓

[@IQSD-zs6qn]

Mozart was creative in his century. New melodies were created, but it is in his era.

[@mr-wx3lv]

Shades of symphony 29 ...

[@vittoriomarano8230]

..very true!

[@TimondeNood]

Thanks!

[@michaelologhlin5038]

As you say, the Andante is in sonata form, but it does have a development section: the beginning of the second solo, bars 47 to 58.

[@cellonoobtapipro8010]

I can hear haydn's influence here

[@SussiBunni]

Same! Sounds like pure Haydn to me for some reason

[@christianwouters6764]

Noteworthy that Mozart allways wrote interesting parts for the viola, sth other composers of that time-even Haydn-couldn't.

[@mr-wx3lv]

I feel that only the best Haydn works matched those of Mozart.

[@christianwouters6764]

@@mr-wx3lv Haydns' best works were at the beginning of his career, f.i. the Stabat Mater and Seven Last Words are really masterpieces. His later enormous output rarely reached the same level.

[@bartjebartmans]

Says who? Haydn's later works are of an impeccable nature, his London Symphonies are magnificent. His later string quartets are landmarks in the repertoire but let's talk about his oratorio "The Creation" a towering master work. Beethoven was deeply impressed by it and the string quartets. That says enough for me.

[@serteres32]

Christian Wouters Soooooo wrong!

[@christianwouters6764]

@@serteres32 I meant, Mozart could this allways, the other composers only ocasionally. Haydn composed his orchestral works by writing out bass and first violin and then filled in the middle parts. A method that leaves not much place for viola parts. I suppose the method was different for p.ex the string quartets.

[@SARABi0610]

8:25

[@catyacuna3529]

1:16
3:32

[@letsschubertiad1966]

00:08:17

[@manuelplazasilva3456]

Thanks Enter name here! 😅❤️

[@culturalconfederacy782]

Somewhat generic sounding concerto.