Johann Georg Pisendel: Violin Concerto in D major (Jung I.7)
Johann Georg Pisendel
born 26 Dec. 1687 in Cadolzburg
died 25 Nov. 1755 in Dresden
Composed
between 1730 and 1750
Recordings:
1986/87 Roland Straumer (first movement only!)
1998 Gottfried von der Goltz
2021 Mayumi Hirasaki
One of the most important German violinists of the Baroque period was Johann Georg Pisendel (1687-1755). Although he composed relatively little himself compared to other Baroque composers, in
his role as violinist-composer and later concertmaster at the Dresden court under the Elector Augustus the Strong and his musical son Frederick Augustus III, he contributed greatly to the spread
of violin concertos in Germany. He copied many compositions or had them copied and arranged them for the Dresden court orchestra. As he also met Vivaldi while travelling in Italy and played his
concertos himself, he took copies of his friend Vivaldi's concertos with him to Dresden and contributed to a remarkable cultivation of Vivaldi at the Dresden court. J.S. Bach also learnt about
Vivaldi through him.
As concertmaster, Pisendel was particularly important for the refinement and improvement of orchestral practice in the performance of many works by his fellow musicians such as Telemann,
Fasch, Zelenka, Heinichen and Hasse, whose compositions were played under his direction at the Dresden court.
Of his own compositions, 12 magnificent violin concertos have survived alongside sonatas for the violin. The violin concerto in D major (according to Jung's census 1.7) presented below is
preserved in several slightly different copies in the Saxon State and University Library in Dresden. The slightly different copies of the music bear witness to the fact that this work was also
performed in various places, churches and palaces in Dresden and can therefore be described as a ‘work in progress’. As different organ parts have survived, it can be assumed that individual
movements were also played at church performances in different churches in Dresden.
His later biographer Johann Friedrich Agricola (1720 - 1774), a widely erudite student of Bach who wrote a detailed biography of Pisendel, wrote:
‘He was indeed, but wrongly, too timid to set many things and let them become known. He had less confidence in himself as a composer than he was really capable of. He was never satisfied with
his own work, but always wanted to improve it; indeed, he reworked it more than once. This caution was probably a little exaggerated.’
Pisendel's pietistic piety is indicated by the Christ symbol α//ω (alpha//omega), which he added to his own compositions. Today it is an indication of Pisendel's guaranteed authorship, but
probably also a sign of an artistic self-assessment open to the transcendent.
Listen here!
Listening companion:
I. Vivace
In the opening ritornello, Pisendel presents the full splendour of his orchestral sound in rousing D major. The wind soloists - horns, oboes, bassoon - and the string choir radiate optimism,
enterprise and festive joy. The solo violin with its pensive opening cadence only appears after a lengthy brilliance from the winds and the third insistence of this elementary D major opening
motif. In the brilliant Vivace, the violin then takes the lead with particularly imaginative figurations typical of Pisendel's sophisticated virtuosity.
The horn soloists join in again, the orchestra interrupts the violin's performance with effective runs, but the violin soon returns to its eloquent Pisendel figurations and bravely makes use of
its own reason within the courtly splendour.
Once again, the opening ritornello interrupts the solo violin, which then presents even more daring figurations and playing techniques, demonstrating what skill means.
The final ritornello of the orchestral tutti once again unfolds in all its courtly splendour. Both the unbelievable skill of the individual solos, as well as the reigning splendour of the court's
sound, echo in the listener's ears for a long time.
II. Andante
The orchestra begins with a simple theme in a dotted rhythm. The solo violin enters with original preludes and plays around this simple, rhythmically characterised theme with its ornaments.
The orchestra and solo violin alternate and progress together, following the rhythm of the theme, filling space and time with simple sounds before they then plunge attacca into the final
movement.
III. Allegro
Horn fanfares, oboe echoes and rapid string syncopations characterise the theme of the almost frantically ritornello of the final movement.
The violin solo parts take part in this hurried rush of the music and this imaginary hunt for something that is not to be caught up with. In the constant back and forth between orchestral tutti
and its own playing, which in turn savours the violin's sound possibilities with fantastic virtuosity, the violin rushes forward and is only caught again, as it were, by the orchestra at the end.
The orchestra brings all the brilliance and virtuosity to a proud end with a concise, sonorous final statement.
Mihi quidem Antiochum, quem audis, satis belle videris attendere. Hanc igitur quoque transfer in animum dirigentes.