Violin Concerto in e minor Op. 64 - Mendelssohn

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RubberJJ
Moreover, Mendelssohn seamlessly joins all three movements together: varying a move from Beethoven's Emperor Concerto, he has a sustained bassoon note rise by a half-step to prepare for the Andante, at the end of which an interlude reprises the contours of the tragic opening theme before fanfares lead us into the springy rhythms of the finale, now in E major-the key of the Midsummer Night's Dream music of his youth, the spirit of which is rekindled in this effervescent concluding movement. However familiar this music is, in a committed performance his achievement continues to astonish with its elegance and power. Throughout, Mendelssohn continually rethinks the soloist's relationship to the orchestra-and to the act of performance. Note, for example, how surprisingly the first-movement cadenza steals upon us, while the unbridled presto ending the movement uses virtuosity merely as a means to intensify a sense of urgency.
ryoidenshi_sakurai
During the process he corresponded at length with David to work through aspects of technique and questions of balance between the soloist and the orchestra. Moreover, Mendelssohn seamlessly joins all three movements together: varying a move from Beethoven's Emperor Concerto, he has a sustained bassoon note rise by a half-step to prepare for the Andante, at the end of which an interlude reprises the contours of the tragic opening theme before fanfares lead us into the springy rhythms of the finale, now in E major-the key of the Midsummer Night's Dream music of his youth, the spirit of which is rekindled in this effervescent concluding movement. This too was novel for a violin concerto of its time. In this mature score, Mendelssohn's meticulous craftsmanship is perfectly married to his expression, and the result is a vivid, spontaneous-sounding presence that captivates from beginning to end.

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