Giuseppe Torelli: Concerto D minor for violin A.2.3.10 (Verzeichnis Passadore)
Giuseppe Torelli
born on April 22, 1658 in Verona
died on February 8, 1709 in Bologna
Composition:
around 1700
CD reference:
Basel Chamber Orchestra
Julia Schröder (violin and conductor)
Recording year: 2016
Giuseppe Torelli came from Verona, studied in Bologna and was admitted to the Accademia Filarmonica there in 1684. Travels to Ansbach and Vienna probably brought him into contact with the
tradition of German-Austrian virtuoso violin playing. The concerto selected here was probably composed around 1700 and is a mature concerto whose solo part was intended for one violin only. The
formal model could have been the baroque opera aria. It was probably preceded by trumpet concertos for the liturgy in San Petronio, the main church of Bologna, which at that time belonged to the
Papal States and had a rich musical tradition. Even if the development to the violin concerto certainly did not follow a straight line, this concerto may very well be one of the first violin
concertos in music history. After this significant classification of this concerto, however, attention should now turn to listening.
To be heard here:
1st movement
2nd movement
3rd movement
4th movement
I. allegro
After the orchestra's ritornello theme, which lightly prances along in 12/8 time, the violin passionately takes the lead with virtuosic runs and drives the theme to lofty heights. It is nice to follow how solos and tutti alternate, how the theme reappears again and again after varied virtuoso interludes. Nevertheless, it gives the impression that the solo violin is on its way to emancipating itself from the orchestra.
II. Largo
The slow, short Largo movement begins reflectively and deliberately. But it immediately gives the solo violin an opportunity to begin its aria and to play around its melody imaginatively with ornamentation. Then the solemn Largo brings the violin back again.
III.Allegro-Largo
The violin, however, continues to play lively and virtuosic, as if this Allegro were exclusively reserved for it. Then, however, the slow striding of the orchestra interrupts her virtuoso extravagance.
IV.Allegro-Adagio
Violent affects and playful extravagances are also demonstrated in the final movement, a play between ritornello theme and passionate and daring solos. Daredevil double-stop playing stands out. The violin climbs into a cadenza that leads to the highest heights. But then it is over, the orchestra ends these extravagances of the violin with a few adagio bars.