Classical Music | Violin Music

Recorded on 01/01/1985, uploaded on 02/21/2009

Musician's or Publisher's Notes

Composed during his tour of Europe in 1779, which included Mannheim and Paris, the Sinfonia Concertante in E-flat major for violin and viola is Mozart's sole contribution (or at least the only known authentic one) to the genre. An offshoot of the Baroque concerto grosso, the sinfonia concertante is often described as being a blend of the symphony and the concerto. Like a concerto, it featured solo instruments, in most cases at least two. On the other, the soloists often fit more into the accompanying ensemble rather than being pitted against it. In this manner, it is often thought to be more like a symphony. Nevertheless, it is a broad term that encompasses a wide range of pieces, including some that it is difficult to draw a hard and fast line between the symphonic and concerto aspects of the work. For example, Mozart's Sinfonia Concertante was likely used as a model for Johannes Brahms's Double Concerto for Violin and Cello, though the latter is not part of the sinfonia concertante genre.

An interesting feature of the work is the use of alternate tuning in the viola, known as scordatura. Throughout the work, the viola is written in the key of D major and tuned a halftone higher, resulting in it sounding in the key of E-flat. The result is a brighter tone so that the viola can better match the brilliance of the violin. However, the alternate tuning is uncommon in modern performances and only used when performing the work on period instruments.

Cast in the typical three movements, an extended orchestral exposition in the majestic key of E-flat precedes the entrance of the soloists. A well-rounded sonata-form, the two soloists engage in thrilling dialogue throughout the first movement. The middle movement is a mournful Andante in C minor. It begins with an orchestral refrain that occurs again throughout the work. The dolefulness of the opening is momentarily dispelled, however, in a heartfelt return of the refrain in E-flat major. Mozart's remarkable gift for expressive melodies shines through in the solo lines of this movement. The Presto finale is pure joy; its melodies soar without restraints. The movement passes by at an easygoing and relaxed pace but becomes energetic in its final bars to close in triumph.    Joseph DuBose