Spohr - Violin concerto N8 a-moll
Spohr - Violin concerto N8 a-moll. You can download the PDF sheet music Spohr - Violin concerto N8 a-moll on this page. Louis Spohr composed his Violin Concerto in A minor no. 8 op. 47 in the Form of a Song Scene, today his best-known such work, in the spring of 1816. Spohr's intention was not at all typical of him. He had not composed a so sparsely instrumented solo concerto since 1803. The orchestral part did not demand all that much of the instrumentalists because in Italy »the orchestras, this according to all the reports of touring musicians, are supposed to be even more miserable than those in French provincial towns.
To download PDF, click the "Download PDF" button below the appropriate sheet music image.
To view the first page of Spohr - Violin concerto N8 a-moll click the music sheet image. |
| PDF format sheet music |
|
|
|
Instrument part: 10 pages. 708 K
|
Piano part: 22 pages. 1596 K
|
 |
 |
|
|
| Download PDF (14.99
€) |
Download PDF (14.99
€) |
|
Spohr compensated for the resultant lack of symphonic design with an original form, and it was this form that contributed significantly to the popularity of the Violin Concerto no. 8. Its through-composed structure corresponds to that of a song scene, to that of a recitative interspersed with ariose sections, a lyrical cavatina with a faster middle section (corresponding to a concerto adagio), and a concluding virtuoso stretta after a renewed recitative transition. The enthusiasm with which the premiere was received at the Teatro alia Scala in Milan on 27 September 1816 demonstrated that Spohr had »hit the mark in his estimation of Italian taste.« His fears about the quality of the orchestra, by the way, turned out to be unfounded.
The concerto's novel form aimed at a synthesis of cantability and drama and was not entirely without precedent in Spohr's concerto oeuvre. The second movement of the Violin Concerto in G minor no. 6 op. 28 of 1 808-9 was a recitative with a following aria. The idea of instrumental vocality may not yet have stamped the form of all the movements, but this was one decisive step closer to Spohr's ideal of singing on the violin. This in turn was the point of departure for a development leading by way of composers such as Bériot, Pacius, Vieuxtemps, Wieniawski, Saint-Saens, Bruch and Goetz to Alexander Glazunov's violin concerto of 1903. Spohr himself received further impulses from this trend in the years following 1 828. Spohr's potpourris on opera melodies, a genre soon to be known as the »fantasy,« formed another point of departure here. The Violin Concerto no. 8 is the only Spohr concerto with an obligatory traditional solo cadenza. Affinity to vocal music never went so far as to lead our composer astray to the programmatic description of extra-musical events. |
|
