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Spohr - Violin concerto N9 d-moll

Spohr - Violin concerto N9 d-moll . You can download the PDF sheet music Spohr - Violin concerto N9 d-moll on this page. He wrote his Violin Concerto No. 9 in D minor op. 55 for his Paris trip during the summer of 1820. The instrumentation of the outer movements creates an initial impression of heaviness on account of the trombones, but the three trombones and the two oboes are ad libitum elements. When we compare Concertos Nos. 9 and 10, we see that the trumpets and timpani were Spohr's only orchestral additions to the former.

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Instrument part: 18 pages. 1163 K


Piano part: 30 pages. 2254 K


Instrument part - First page Piano part - First page
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Much more striking than the option of larger or smaller instrumentation is the general reduction of the orchestra part. Departing from his custom, Spohr assigned it the mere function of a sound support outside the tutti. His reason for doing so is perhaps to be traced to his tour experiences: even the larger orchestras he encountered on such trips had only rarely met the high standards of his earlier concertos.

To make up for this, Spohr packed all the stylistic and technical characteristics of his violin style into the solo part, so much so that it serves as a paradigm. Its inclusion in his Violin Course in 1831 (along with a second violin part) thus made perfect didactic sense.

The primary theme of the Allegro is marked by seriousness and pathos. Its sweeping arches are of succinct rhythm and almost without ornamentation. The lyrical secondary theme displays greater ornamental ease and harmonic iridescence. Elements of both themes are elaborated in bold modulations in the middle part of the movement. The obligatory brightening toward D major precedes the solo entry in the recapitulation.

The Adagio is the longest of all the slow movements in Spohr's violin concertos. Here two more units have been added to the otherwise standard three parts. The composer himself characterized the Rondo-Allegretto as »tempestuous.« The primary theme requires two-part playing from the soloist throughout. The episodes stand out for their bold leaps and arpeggiations, and we hardly meet with passages: a demonstration of power and technical mastery without a thought for the sound sensations of mass appeal.
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