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Mozart - Violin concerto N5 A-dur K219

Mozart - Violin concerto N5 A-dur K219. You can download the PDF sheet music Mozart - Violin concerto N5 A-dur K219 on this page. Concerto for Violin and Orchestra no. 5 in A major,    K. 219

1. Allegro aperto
2. Adagio
3. Rondeau: Tempo di Menuetto

The autograph score of K. 219 is one of the most highly prized possessions of the Library of Congress in Washington, DC. Leafing through it, one is soon transported by an unexpected Adagio to an idyllic spot where the solo violin soars dreamily above the murmur of the orchestra violins, before plunging manfully into the Allegro at last.  Wherever the cradle of this minor-mode music ultimately lies with its narrow intervals, its brief and twirling motives, its vehement sforzando accents, we must be grateful for the incursion of its oriental exoticism into our concert halls.

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PDF format sheet music


Instrument part: 15 pages. 1242 K


Piano part: 32 pages. 2576 K


Instrument part - First page Piano part - First page
Download PDF (14.99 €) Download PDF (14.99 €)
The notes of the chord of A major, previously heard as if in a reverie, are now presented in a brisk, dotted rhythm, adapted to the new tempo, a wholly innovatory procedure at the time. Other things are more conventional: sighs are raised, curtsies and bows are sketched, galant conversation is made (as in the Adagio) between the soloist and the orchestra. The minuet theme (3A), neatly pigtailed, makes a decorous entrance into the Rondeau, but springs a few surprises (chromatic suspensions, minor-mode unisono) in its last stages. These are precursors of the interpolated tuttis in the minor, which are quotations from an earlier work of Mozart's, the ballet Le gelosie del serraglio (K. A109), from the 1772 opera Lucio Silla. The original ballet gave them a Turkish setting, but even in the non-dramatic context of a violin concerto, a piece of "absolute music", they carry "Turkish" associations - or rather, associations of the musical phenomenon that was designated "alia turca" in Mozart's day, namely the music of the Janissaries, the élite troops of the Ottoman Empire, which had a strong Hungarian flavour. When Mozart directs the double basses to play col legno, there is no mistaking the imitation of a big bass drum beaten with wooden sticks.
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