Tchaikovsky- Violin Concerto in D Major, op. 77 Part II
Discussion of the second movement in Tchaikovsky’s Violin Concerto in D Major.
II. Canzonetta
The first section begins with a series of wind chords that paint a much cooler, lonelier scene than the generally upbeat first movement. A series of three-note motives in the clarinet, bassoon, and horn introduce the solo violin at 0:37.
In the first movement the violin and orchestra spent the majority of the time in peaceful coexistence- sharply in contrast to the defiant violin in the Violin Concerto in D Minor by Johannes Brahms or the Cello Concerto in A Minor by Antonin Dvorak. In the second movement, however, the violin is in stark contrast against the soft background. The first theme is fragile and accompanied by a horn tolling in the background like a slowly rocking bell. The theme is restated against soft, legato strings at 1:08, amplifying the sense of loneliness. A series of descending motives (1:38) answered softly by the orchestra does not provide comfort. The theme rises in the solo flute at 2:00, again accompanied by the horn and soon joined by the clarinet playing the theme that acts as a counter melody for an all-too-brief moment.
A short modulating bridge at 2:18 brightens the musical horizon as theme two descends in the solo violin like a warm blanket (2:27). Rising and falling violin figures characterize this middle section, making up for the isolation of the opening theme with lyricism and and charm. A wind figure echoing the opening of the movement at 3:11 leads to a series of descents in the violin. More rising and falling figures in the violin (with several hints of minor anticipating the return of theme one) against more prevalent string accompaniment (3:37) end in a violin and clarinet descent (4:00) back into theme one.
Theme one in the violin is accompanied initially by the clarinet and then the solo flute (4:24). Theme one is sequenced up an octave in the violin and is joined by a haunting rising and falling figure in the clarinet (4:38). A trill at 5:44 resolves to a repeat of the opening wind choir, leading to the coda at 6:16.
The orchestral strings play a nervous four-note motive which is answered by a wind chord. These motives sequence upwards, slowly building tension before they are played softly in the bassoon, cellos, and finally in the bass just barely audible. Tchaikovsky has marked these two movements “attacca”- without pause, and at this point the concerto is without resolution.
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If you are interested in listening to a recording, I recommend Erich Leinsdorf’s 2000 release with the Boston Symphony Orchestra with Itzhak Perlman on RCA. You can buy this recording from Amazon by clicking on the image below. Alternatively, you can purchase this recording from the iTunes Music Store often at a reduced price by following the link below.
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