Mozart’s violin legacy includes over forty sonatas and variations for violin and harpsichord, concert and chamber duets for strings and solo concert works. Of his five violin concerti, four were written in 1775. It was at this time that the nineteen-year-old Mozart was appearing to great acclaim as a solo violinist and, apparently, writing concerti to expand his own repertoire. In these concerti the orchestra is small in size and essentially plays a subservient and accompanying role but the tremendous melodic richness, the extremely precise knowledge of the nature of the instrument and the brilliance of their form transformed Mozart’s masterpieces into an integral part of the world’s gold reserves of violin music.
The Third Concerto, the so-called Strassburg, is adored by audiences and musicians alike. The extreme vibrancy, the resilient rhythm, the freedom and the elegance of the melodic line all set the first, Allegro, section apart. The second, slow movement is an example of Mozart’s captivating lyricism, full of lofty emotions and passionate praise of beauty. The final Rondo, as in many of Mozart’s instrumental works, is imbued with the nature of a folk dance. In the central section there is a dance melody, common to the villages surrounding Strasbourg – which gave the complete concerto its name.
Iosif Raiskin
