Beethoven Violion Concerto Mvt 3 Analysis
The Violin Concerto Op.61: Third Movement (Rondo: Allegro) |
The third movement is built around the lively Rondo form (in which one main theme - the Refrain - is repeated in a cycle interspersed with different des) and also includes a number of classic Sonata features: the three-part symmetry, harmonic structure and the fact that the first episode - which returns as the third episode - acts as the 2nd theme of the Sonata. This varied form, known as the Rondo Sonata, can be found in some of Mozart's works; Beethoven went on to use it frequently in the last movements of the works of his second period. Section | Part in the
Forma Sonata | Tonality | Motif | Performer | Approach | Refrain | 1st
T
H
E
M
E | E
X
P
O
S
I
T
I
O
N | D
M a j o r | A solo bars
1-4 | Soloist | The Refrain is introduced by the soloist, in low and high registers in sequence. The theme is repeated, forte, by the entire orchestra. | | | | | A' tutti bars
21-24 | Orchestra | | 1st Episode | 2nd
T
H
E
M
E | | | B
"caccia"
bars
45-49 | Soloist
+
Orchestra | The soloist embellishes the melody over a typical "corni da caccia" ("bugle") theme. | | | | | C retransition bars
59-62 | Soloist
+
Orchestra | The second part of the episode gradually takes us back to the main key and Refrain, which the orchestra introduces by reworking fragments of the theme. | Refrain | C
O
D
A | | | A solo | Soloist | The consequent to the refrain, bars identical until the last of the Tutti where it takes on a different pace to introduce the central episode. | | | | | A' tutti | Orchestra | | 2nd Episode | D
E
V
E
L
O
P
M
E
N
T | g
m i n o r | D bars 126-130 | Soloist
+
Orchestra | This contrasting Episode is lyrical and expressive; the counterpoint between the bassoon and solo violin is particularly melodic. | | | | D' | Soloist
+
Orchestra | | | | | D'' | Soloist
+
Orchestra | | Reconduction | |
The third movement is built around the lively Rondo form (in which one main theme - the Refrain - is repeated in a cycle interspersed with different des) and also includes a number of classic Sonata features: the three-part symmetry, harmonic structure and the fact that the first episode - which returns as the third episode - acts as the 2nd theme of the Sonata. This varied form, known as the Rondo Sonata, can be found in some of Mozart's works; Beethoven went on to use it frequently in the last movements of the works of his second period. Section | Part in the
Forma Sonata | Tonality | Motif | Performer | Approach | Refrain | 1st
T
H
E
M
E | E
X
P
O
S
I
T
I
O
N | D
M a j o r | A solo bars
1-4 | Soloist | The Refrain is introduced by the soloist, in low and high registers in sequence. The theme is repeated, forte, by the entire orchestra. | | | | | A' tutti bars
21-24 | Orchestra | | 1st Episode | 2nd
T
H
E
M
E | | | B
"caccia"
bars
45-49 | Soloist
+
Orchestra | The soloist embellishes the melody over a typical "corni da caccia" ("bugle") theme. | | | | | C retransition bars
59-62 | Soloist
+
Orchestra | The second part of the episode gradually takes us back to the main key and Refrain, which the orchestra introduces by reworking fragments of the theme. | Refrain | C
O
D
A | | | A solo | Soloist | The consequent to the refrain, bars identical until the last of the Tutti where it takes on a different pace to introduce the central episode. | | | | | A' tutti | Orchestra | | 2nd Episode | D
E
V
E
L
O
P
M
E
N
T | g
m i n o r | D bars 126-130 | Soloist
+
Orchestra | This contrasting Episode is lyrical and expressive; the counterpoint between the bassoon and solo violin is particularly melodic. | | | | D' | Soloist
+
Orchestra | | | | | D'' | Soloist
+
Orchestra | | Reconduction | |