Mozart’s emphasis on music for violin and strings culminated in 1775 when, in the course of nine months he composed five concertos for violin and orchestra.
Especially in his Violin Concerto No. 5 in A, K. 219, Mozart demonstrates great imagination in his experimentation with fluctuating tempos and diverse meters within single movements. Such freedom in his handling of material expresses not only an originality of form, but also Mozart’s knowledge and command of both the Italian and French styles, a demonstration of his cosmopolitanism at the age of 19!
The first movement of Concerto No. 5 quickly presents us with formal peculiarities that are odd for the period. Following the tutti exposition, the solo violin enters with a tempo change from Allegro aperto to Adagio, completely altering the mood. When the allegro returns we discover that what appeared to be the first theme of the Concerto turns out to be an accompaniment to what is the true first theme stated in the solo violin. Aside from these anomalies, the remainder of the first movement follows the processes of sonata form.
The Adagio, in E major, is a three-part song form of a lyrical and contemplative nature.
In the finale, labeled Rondeau, Mozart tips his hat to French models. But the uniqueness of this movement stems from the introduction of a simultaneous meter and tempo change as well as a change of key to A minor.
This is an episode in the alla turca style, which was popular in opera at the time. Mozart achieves this effect not only by changing the mode to minor, but above all through his requiring the cellos and basses to play coll’ arco al roverscio, meaning “play with the wood of the bow,” thereby producing a percussive sound. The movement ends quietly with the last statement of the theme.
Here is Pinchas Zukerman to play this music for you:
