Tchaikovsky- Violin Concerto in D Major, op. 77 Part III
The third movement of Tchaikovsky’s Violin Concerto in D Major.
III. Allegro vivace
Rondo Variation form (The rondo theme returns throughout the movement, but the contrasting episodes are just variations of each other)
A loud orchestral chord snaps the listener to attention as a short but powerful introduction is handed off to the solo violin who plays introduction motives interspersed with double-stopped and pizzicato ascents. These are the same motives that we heard in the coda of the second motive. The motives sequence upwards before the violin finally launches into the rondo theme at 0:53.
The rondo theme is fast and frantic, begun by introduction motives followed by ascents. The orchestra has the unenviable task of playing on the offbeats in the first statement of the theme, but after a brief transition featuring pizzicato accompaniment (1:15) the rondo repeats with chirping strings underneath. More introduction motives are followed by rapid descents before a dialogue between the violin and squawking winds (1:35). An ascent and crescendo give us a much needed break, as another loud orchestral tutti clears the air and gives way to a transition featuring slowly panting strings. An embellished descent is heard in the solo violin at 1:53. This section is a momentary respite, as theme two is rapidly approaching.
Theme two starts off slowly in the solo violin (2:05) based off of three notes on the same pitch followed by a four note descent. This soon accelerates as flutes flutter in the background and the strings take over. The brass enter enthusiastically as the violin plays energetically above before the low strings slow down the tempo once again. The second section of theme two opens with an oboe and clarinet duet (2:38) again with panting strings. The violin re-enters at 2:56 and is answered by the strings. Theme two motives in the violin repeat numerous times as Tchaikovsky again lures us into a state of rest.
Of course that can’t last long, and at 3:42 the violin plays a series of accelerating theme one motives to bring us back to the rondo. Downward sequencing motives in the violin are answered angrily in the orchestral strings (4:08) before the violin plays the rondo accompanied by pizzicato string descents. Orchestral tuttis answered by a leaping violin build and then vanish into a series of offbeats in the strings accompanying violin ascents. After a descent in the solo violin we’re allowed another deep breath at 4:51.
A variation of theme two begins at 5:07 and again rapidly accelerates. The winds play the theme as the violin dances above, soon followed by a martial, strutting version in the violin with offbeat accompaniment from the orchestral strings. The brass play theme two motives before the violin ascends and plays the theme at the upper limits of its range accompanied by a cheerful counter melody in the winds (5:35). The oboe/clarinet duet returns with a decidedly Turkish flair- grace notes everywhere- echoed by a flute/bassoon duet. The violin takes up the second section of theme over rising wind lines, slowing down and decrescendoing.
The rondo returns for the final time at 7:03, faithful to the original.
The coda begins at 7:52. The winds play theme one motives over string runs that are echoed by the flutes. Theme two motives are sequenced upwards before the orchestral strings play rising and falling motives that precede tutti statements of the rondo motive (8:09) (You know, for a moment it even sounds like the Nutcracker). The violin answers with double-stopped ascents as the orchestra seems to query the violin’s intentions in several different keys. The motive is abbreviated down to just simple two-note descents leading to rising and falling violin lines over theme two motives in the brass. Embellished violin descents have their endings augmented with accented figures in the strings (8:43) before alternating notes in the timpani and trumpet lead to theme two motives in the orchestra and the blistering conclusion of the concerto.
Along with the violin concertos of Mendelssohn, Brahms, and Beethoven, the Tchaikovsky Violin Concerto in D Major is one of the greatest concertos in the repertoire and by far the most often performed. It is Tchaikovsky at his best- gorgeous melodies, drama, and a compositional style that only Tchaikovsky can call his own. It is an absolutely wonderful piece, and its musical value is not at all diminished by its popularity.
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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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