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Schnittke - Violin Concerto N1 op.18

Schnittke - Violin Concerto N1 op.18. You can download the PDF sheet music Schnittke - Violin Concerto N1 op.18 on this page. Schnittke's Concerto No.1 for Violin and Orchestra (1957, revised 1963) is rich in ideas and explores a wide range of emotions. Great inventiveness is shown in the treatment of the solo instrument, but the composer's attention is centred not on the virtuoso aspect but on violin cantilena. The wealth and unique beauty of its melodies are among the most attractive qualities of the concerto.

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Instrument part: Missed


Orchestral score: 176 pages. 17003 K


Schnittke - Violin Concerto N1 op.18 - Instrument part - first page Schnittke - Violin Concerto N1 op.18 - Piano part - first page
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The principal subject of the first movement (in sonata form) begins with a flowing melody from the solo violin. The unusually complicated melodic outlines of the principal theme in combination with the complex rhythmic pattern suggest concentrated searchings, painful deliberation. The initial motives from this theme become interwoven with almost all the themes in the other movements, playing the role of leading motives. The subsidiary subject of the first movement, with a characteristic augmented second, also acquires an important place in the dramatic development.

The second movement is a rushing scherzo based on the alternation and development of three themes, all of which are related to one other. They are unified by a poignant nervous rhythm, angular melodic contours and "sharp" bowing. The concerto's leading motive is easily distinguished in the melody of the first theme.

The third movement opens with a tranquil and songful theme, also containing the leading motive. The middle section, wholly based on thematic material from the first movement, comes as a startling contrast to the calm and lucid song. After the statement of an agitated — yet flowing — theme by the solo instrument (this theme is close to the subsidiary theme of the first movement), contrapuntal development begins in the orchestra. This episode, where the evenly-paced counter-subject recalls the outlines of the leading motive, leads to a tensely dramatic climax.

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