Wieniawski - Violin concerto N1 Op.14


Wieniawski - Violin concerto N1 Op.14. You can download the PDF sheet music Wieniawski - Violin concerto N1 Op.14 on this page. The F sharp minor Violin Concerto dates from Wieniawski's early years of touring. He was only 17 at the time, yet he already possessed a clear understanding of the Romantic concerto idiom, enhanced by his natural flair for melody and memorable ideas. His impassioned style owes relatively little to the Rossini , or Mendelssohn and Schumann, but instead takes its lead from the composer's Polish predecessor, Chopin. With its infamous first entry in consecutive tenths, made all the more challenging by their dotted rhythmic profile, for many years the concerto was considered a no-go area for all but the most fearless of virtuosi. Wieniawski provides a welcome breathing space between the first movement's fizzing virtuosity and the pyrotechnical dancing of the finale in the form of a relaxing interlude, with the distinctive title Preghiera.

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Instrument part: 13 pages. 2300 K

 

Piano part: 26 pages. 4280 K

 

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Wieniawski's First Violin Concerto lacks the greatness of the Second Concerto, which has a trace of genius in the first two movements and is unquestionably Wieniawski's finest composition, but the First Concerto is, after all, a youthful first attempt, bursting with enthusiasm and original display, the latter providing a vivid catalogue of the outstanding features of the composer's technique.

It is almost certain that the finale was composed first as an independent Rondo and that the preceding movements were added later. It is the least original movement, reliant upon Rode and Viotti whose concerti were in fashion at this time, although its principal dancing melody is sheer delight and foreshadows to a certain extent the Scherzo-Tarantelle Op. 16. The first performance of the Concerto perse, dedicated to King Friedrich-Wilhelm IV of Prussia, was given in Leipzig on 27th October 1853.
The soloist's entry comes as something of a surprise after the pulsating, romantic orchestral introduction in that it is strongly reminiscent of Paganini with extravagant flourishes and flamboyant display. We are, however, quickly confronted by the personal characteristics of Wieniawski's style - enormous leaps, treble stopping and double stopped harmonics. Amongst the more unusual features of this concerto is the replacing of the recapitulation of the first movement's main theme by a cadenza and a brief but highly effective larghetto, titled Preghiera, which opens in memorable sombre colours (bassoons, horns, 'cellos and basses).
 
 
     
 
 
 
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