Andante-Allegro ma non troppoThe noble theme announced by two horns at the beginning is a masterful touch, simple in itself, but with such a sweeping effect that even the least attentive listeners notice that something out of the ordinary begins. Immediately afterwards the orchestra picks up the theme, develops it, prolongs it and provides a wide range of instrumental colors. Finally, a crescendo takes us to the main theme characterized by the punctuated rhythm of the string and the triplets of the wood.But, before the development takes place, a secondary theme is introduced that broadens the punctated rhythm and then moves to E minor, appearing the second theme, a delicate melody played by the oboes and bassoons. Finally, three short waves of the whole orchestra cause the end of the exhibition, a long and imaginative development of all the ingredients that until now have played an important part.
The recapitulation is normal, apart from the appearance of the second theme in C minor, and then after the three waves the music picks up the step for the coda. With a triumphant re-exposure by the whole orchestra of the initial theme of the horn, the movement concludes.Concerto for Violin and Cello, Op.102 (Brahms, Johannes) First movement – Allegro.The concert begins with an orchestral “tutti” of four measures that outlines the eventual main theme of the movement; the cello collects the last three notes and launches forward in an impassive and unaccompanied recitative, but at the right time, as indicated. The wooden instruments gently present the second motif (in major key), which is taken by the violins, who in turn develop it in the form of a rhapsody before they join the cello in an extensive dialogue. Only after this does the course of the first movement finally begin.The main reasons are widely contrasted in character, being the first challenging and passionate and the second warmly lyrical.
Between both, in the initial presentation of the orchestra of this material, appears a hectic and syncopated figure, which can be heard later. Both motifs are then re-exposed by the soloists on their own terms before leading to a brief development and recapitulation section. At the end of this movement the tonality of return to minor.Second movement – Andante.A horn touch in ascending fourth, with an answer in the wooden instruments, becomes the first four notes of the main theme of the “Andante”, a broad melody sung by the two soloists in octaves. When the melody ceases, there is an abrupt change of tone – that provided pure pleasure – and the wooden instruments offer a new and exciting theme, trumpet plays the two notes that mark the beginning, the soloists respond and after a brief cadence, they lead back to the theme in D major. Finally, there is a coda that refers to the middle section and the ascending figure in fourths.
Third movement – Vivace non troppo-Little meno allegro-Tempo primo.The ending is vigorous and full of good humor showing a strong flavor of elements. The form of the movement is a rondo-sonata with theme (a) dictating the general form. The second theme (b) is of a more dignified style, being first announced by the cello in double pause. After the return the soloists embark on a new and energetic idea, which finally decays to allow the wooden instruments to be introduced with a gentle episode, while the soloists accompany them with arpeggiated figures. There is some development, then an exposition of the first motif before the triumphant return of the original theme of the cello. This form is sustained until the end.Violin Concerto No.
1, Op.26 (Bruch, Max) The first movement starts slowly with two pianissimo timpani hits and the announcement of the melody by the flute. Then follow a theme that will be repeated several times throughout the concert, in the form of dialogue between the violin and the orchestra. Quickly resolves in the main theme, where you can appreciate the virtuosity of the soloist. A series of trills (quick alteration of the base note and the next on the scale) lead to the melancholy song of the violin in a kind of contradiction between drama and joy. The variations on the dominant motif, either with the orchestra, with the violin, or with both at the same time, lead to the climax of the movement, with a brilliance and brahmsian splendor. The cadence now appears, ending in a pianissimo that is linked to the beginning of the second movement.
The second movement, is a very slow movements. It is structured on a very simple but effective theme because of its melodic singing. Intimate and sensitive, the same will be repeated several times, ornamented in a different way throughout the development, to allow you to appreciate the depth of the feelings that are lodged in your music.The Finale is an energetic Allegro. It have a festive and lively style and airs of a certain grandeur. Here again the virtuosity and brilliance of the solo part dazzle, with a full orchestral accompaniment. The second theme is a good example of romantic lyricism: a slow melody that cuts the movement several times, before the dance returns with its fireworks. This movement have a carefree and cheerful motion, with constant changes of tone from major to minor on the same melody.
The concert ends with a fiery and progressive final Presto of the soloist and the whole orchestra.