Friedrich Ludwig Benda: Concerto for Principal Violin (1779)
Friedrich Ludwig Benda
baptised 4 Sept. 1752 in Gotha
died 20 or 27 March 1792 in Königsberg (today: Kaliningrad)
Composition:
probably 1779 in Königsberg
CD recording:
Albrecht Rau 1992
Friedrich Ludwig Benda was born in Gotha, the eldest son of the Bohemian composer Georg Benda (Jirí Antonin Benda) and also the nephew of the equally famous Franz Benda (František Benda), who
later moved from the Dresden court orchestra to the court orchestra of the Prussian crown prince and later King Friedrich. The typical late absolutist career of ‘our’ Benda composer, the one
generation younger Friedrich Ludwig Benda, can be briefly summarised: from 1775 violinist at the Gotha court theatre, from 1780 music director in Hamburg, from 1782 violinist and court composer
in Ludwigslust (then seat of the (Grand) Dukes of Mecklenburg-Schwerin) and after separating from his wife, the singer Felicitas Agnesia Ritz, concertmaster in Königsberg. He wrote cantatas,
oratorios, operas, singspiels, operettas and two violin concertos. He died young in Königsberg at an almost Mozartian age.
This beautiful, highly original concerto is also reminiscent of Mozart, as it has Mozart-like characteristics. However, there is only an indirect connection to Mozart via Benda's father,
Georg Anton, whom Mozart probably met in Mannheim on his return journey from Paris and whose operas Medea and Ariadna auf Naxos Mozart greatly appreciated and whose melo-dramatic opera scenes
probably inspired him to write the fragmentary Singspiel Zaide.
It would be a gain if Ludwig Friedrich Benda's violin concerto were to be brought back into the concert repertoire, if only because of the original, uniquely beautiful second movement.
Unfortunately, the name Benda is no longer sufficiently suitable for festivals today, despite a whole series of composers who were important at the time. However, more CD recordings could help to
prevent it from being forgotten.
Listen here!
Listening companion:
Headline 1
A striking horn motif opens the orchestra's festive entrance with an initial oscillating theme. An elegant rococo-like transition leads to a gallant second theme, which loses itself in a
dalliance and is absorbed again by the first theme in the final turn.
The solo violin begins brilliantly with the horn motif and the first theme and then moves virtuosically into free figurations and violinistic high notes to captivate the listener. After the
violin also briefly plays the second galant theme, the orchestra returns with the tutti and recalls the first theme, which is characterised by the sound of the horn. The rococo-like transition
also leads back to the gallant second theme and thus classically repeats the entire exposition of the themes.
The solo violin begins its second solo part with double stops and once again shines with its skill and musicality.
But then the violin unexpectedly lapses into a strange, minor-key melancholy. The following orchestral interlude is also unable to immediately bring the violin out of its artistic
melancholy.
It is not until the recapitulation of the first theme that the violin finds its way out of its clouded feelings. It once again performs its solo part in a flawlessly classical manner, but despite
its radiant brilliance, it cannot quite make us listeners forget the clouded mood we have experienced. The second galant theme, played in the highest register, also retains something strangely
unreal.
The orchestra then concludes the movement in a melodious classical convention in D major.
Rezitativo. Larghetto
The second movement begins unusually with a recitative, as if before an aria. The solo violin begins in recitative-like declamation over a broad string sound, as if it finally wanted to tell
something very personal. It builds up its narrative to a striking climax, where the recitative finally turns into the expected aria.
And the aria really only tells of beauty and enchantment through marvellous violin singing. Time and again, the violin's sensitive melody takes us back to the freedom of its cadenza, leading us
along in amazement.
Headline 3
The third movement then begins rather conventionally and rescues itself in a ceremonial round dance. The violin follows this convention with its somewhat stiff interludes. Only slowly does it
find its way back to its own figurations and top notes. But in its round dance, it no longer finds its way back to the personal nature of the second movement.
Only a minor-key section gives us another inkling of what had broken into the life of this violin. The violin only hesitantly finds its way back into its dance. The orchestra takes over
routinely. But then the solo violin - completely unusually - simply stops playing. It no longer wants to...
... and we listeners are left perplexed, because we would not have expected this concerto and this enigmatic narrative from a Benda.