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Mozart - Violin concerto N 4 D-dur K218

Mozart - Violin concerto N 4 D-dur K218. You can download the PDF sheet music Mozart - Violin concerto N 4 D-dur K218 on this page. Concerto for Violin and Orchestra no. 4 in D major, K. 218

1. Allegro
2. Andante cantabile
3. Rondeau: Andante grazioso

The Fourth and Fifth Violin Concertos date from October and December 1775, respectively. Both clearly reveal the influence of the Italian tradition of composers like Pietro Nardini, Gaetano Pugnani and Antonio Vivaldi, especially in the formal layout, while melodically they reflect the contemporary French style or the "Turkish" style then in fashion.

When Mozart writes from Augsburg in 1777 that he has played the "Strasbourg Concerto" ("it flowed like oil"), or his father notes with pride that the vice-Konzertmeister Antonio Brunetti has performed it in the interval of a play, in order to give the actors time to change, it is to K. 218 that they refer. Mozart may well have known one of the symphonies of Dittersdorf, in which the title "Ballo Strasburghese" is given to a melody "a la musette"; a variation on the same melody appears in K. 218, weaving through the Rondeau, and showing Mozart's delight in its folk character.

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Instrument part: 14 pages. 590 K


Piano part: 30 pages. 923 K


Instrument part - First page Piano part - First page
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Mozart's use of the French form of the word "rondeau". or of the direction "grazioso" — which was popular in French court music in the galant style -as a designation for the andante musette theme, makes it clear that the young composer's conscious cultivation of the foreign style goes beyond melodic borrowings. He is paying homage to a fashion. For the same reason, this was the only concerto to go with him in his baggage when he set off on the road to Paris via Mannheim. In Mannheim they called the march-like unisono of the opening tutti of the first movement an "orchestral curtain". It had degenerated since it was new into a common, conventional and uninspired form of orchestra] opening in broken chords, a modish routine. But Mozart's development from this commonplace beginning, with the violin picking its way lightly and gracefully above the throb of the violas, is inimittable in the way it simultaneously provides a contrast to the first four-bar group and builds a unified form: it is Mozartian to the core.
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