Jean Sibelius - Violin Concerto in D minor, Op. 47 | Текст песни

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• Violin Concerto in D minor, Op. 47

Jean Sibelius
Concerto for violin and orchestra in D minor, Op. 47
Allegro moderato 00:00
Adagio di molto 15:55
Allegro, ma non tanto 24:05

Adrian Justus, violin

Philarmonia Orchestra
Enrique Bátiz

The Violin Concerto in D minor, Op. 47, was written by Jean Sibelius in 1904, revised in 1905. […]
The first movement, marked Allegro moderato, opens with a cushion of pianissimo strings pulsating gently. The soloist then enters with a characteristic IV-V-I phrase, in D minor G-A-D. The violin announces the theme and is briefly echoed by clarinet, then continues into developmental material. More low woodwind and timpani accompany the soloist in several runs. Almost cadenza-like arpeggios and double stops and more runs are accompanied by more woodwind restatements of the theme. The strings then enter brazenly for the first time, announcing a second theme. Developmental material leads to a cadenza which then opens into the recapitulation. The 'Allegro molto vivace' coda ends with restatements of past themes.
The second movement ('Adagio di molto') is very lyrical. A short introduction by clarinets and oboes leads into a singing solo part (on the G string) over pizzicato strings. Dissonant accompaniments by the brass dominate the first part of the song-like movement. The middle section has the solo violin playing ascending broken octaves, with the flute as the main voice of the accompaniment, playing descending notes simultaneously.
The third movement ('Allegro ma non tanto', not overly fast) is widely known amongst violinists for its formidable technical difficulty and is widely considered one of the greatest concerto movements ever written for the instrument. It has been described as \"a polonaise for polar bears,\"but it also has a warlike quality that evokes a battlefield.
It opens with four bars of rhythmic percussion, with the lower strings playing 'eighth note ‒ sixteenth note ‒ sixteenth note' figures. The violin boldly enters with the first theme on the G string. This first section offers a complete and brilliant display of violin gymnastics with up-bow staccato double-stops and a run with rapid string-crossing, then octaves, that leads into the first tutti. The second theme is taken up by the orchestra and is almost a waltz; the violin takes up the same theme in variations, with arpeggios and double-stops. Another short section concluding with a run of octaves makes a bridge into a recapitulation of the first theme. Clarinet and low brass introduce the final section. A passage of harmonics in the violin precedes a sardonic passage of chords and slurred double stops. A passage of broken octaves leads to an incredibly heroic few lines of double stops and soaring octaves. A brief orchestral tutti comes before the violin leads things to the finish with a D major scale up, returning down in flatted super-tonic (then repeated). A flourish of ascending slur-separate sixteenth notes, punctuated by a resolute D from the violin and orchestra concludes the concerto.

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