The concerto begins slowly with an introduction by the orchestra. This gives way to the entrance of the soloist, who introduces the first movement’s main melody, one of Tchaikovsky’s most beautiful themes. The soloist’s music becomes faster and more virtuoso as it unfolds, until we reach a new theme marked “con molto espressione” (with great expression).
Though related to the main melody, this theme is warmer, with a faster harmonic rhythm. As it unfolds and develops, the soloist’s music once again becomes increasingly virtuoso, but now with added emotional intensity. The soloist’s runs build to a grand orchestral statement in which the main theme returns in a powerful, heroic guise.
This soon disintegrates into fragmentary, unstable music, until the soloist reenters with a delicate variation on the main theme. This builds once again to a heroic, orchestral version of the theme. The music becomes more intense, until it breaks off, leaving the soloist alone. The soloist then plays a cadenza, an extended unaccompanied solo of great difficulty that features some of the violin’s highest notes.
After revisiting the main theme and the second theme, the cadenza ends with a trill, the traditional signal for the orchestra to reenter, and the flute begins to play a reprise of the main theme. After a reprise of the second theme, the orchestra and soloist race to the end of the movement in a thrilling coda.
The slow movement is an unforgettable Canzonetta. The word “Canzonetta” is Italian for “little song,” and indicates a simple, vocal style of music. After a chorale-like introduction from the woodwinds, the soloist indeed plays a simple, song-like melody that is sweet yet melancholy. A brief orchestral interlude leads to a warmer, more tender middle section. After a reprise of the main theme and the introductory chorale, the movement fades away.
Just as the second movement is about to end, the finale begins with a bang. Parallel to the first movement, an animated orchestral introduction leads to the entrance of the soloist, who then introduces the dancing main theme of the movement. In place of the noble melodies of the previous movements, Tchaikovsky turns now to the earthy sounds of Russian folk music, casting the soloist as a virtuoso Russian fiddler. Impressive passages for the soloist lead to a new theme that appears above a rustic drone bass. Languorous at first, the tune takes on a variety of moods in a series of variations, from fast and brilliant to slow and dreamy. The soloist then accelerates to a reprise of the main theme. After a reprise of the second theme, the main theme then reappears once more, leading to an exhilarating coda.
Here is violinist Henrik Szeryng to play this music for you:
