|
The second movement is unique in the history
of the concerto for its pure, uninterrupted
lyricism.
The structure, a series of variations, stands
out for the fact that it is totally in the tonality
of G major. A sublime period of 8 bars plus
a further three transitional bars makes up the
second theme (B) which begins in bar 45, returning
in bar 71. The entire movement (fairly long
at some 9 minutes) is played in simple melodic
variations on the same theme.
The only "unusual" part of the theme
(bearing Beethoven's signature) is the modulation
on the chord of F sharp in the fourth bar; a
simple harmonic connection is introduced to
take us back to G major completely naturally.
In this movement the strings play with "sordina"
(while flute, oboe, trumpets and timpani are
not included in the score), so to give to the
overall sound a soft, mellow and warm colour.
|
Motif |
Bars |
Performer |
Tonality |
Approach |
| Theme
A |
1-10 |
Orchestra |
G Maj. |
Played pianissimo by muted strings. A
plain and simple romanza phrase with a two
bar coda. |
| Var.
I |
11-20 |
Soloist
(+ Orch.) |
G Maj. |
The soloist draws ornamental figurations
on the theme which is repeated (unchanged)
by the horns and the clarinet. |
| Var.
II |
21-30 |
Soloist
(+ Orch.) |
G Maj. |
The bassoon repeats the theme as the soloist
embellishes it in many different ways. |
| Theme
A |
31-40 |
Orchestra (Tutti) |
G Maj. |
The orchestra repeats the theme forte,
bringing the first part of the movement
to a close. |
| Quick
transition |
41-44 |
Soloist |
G Maj. |
The short transitional section prepares
us for the new theme. |
| Theme
B |
45-55 |
Soloist
(+ Orch.) |
G Maj. |
Theme B is played for the first time on
the deep, warm strings of the solo violin. |
Var.
III
on Theme A |
56-65 |
Soloist
(+ str. pizz.) |
G Maj. |
Another variation on the first theme. |
| Codetta |
65-70 |
Soloist
(+ Orch.) |
G Maj. |
Cadenza which ends III variation of theme
A. |
Theme
B
ornato |
71-79 |
Soloist
(+ Orch.) |
G Maj. |
Theme B, with accompaniment by the woodwinds. |
| Codetta |
79-83 |
Soloist
(+ Orch.) |
G Maj. |
The cadenza exposed on bars 65-70, here
varied and shortened. |
| Coda |
83-91 |
Soloist |
G Maj. |
The soloist's last embellishment (G major)
on theme A (the horns fade out). |
| Transition |
89-90 |
Tutti |
Modulante |
Tutti, fortissimo, for two and a half
bars; followed by a suspension prior to
the Rondo' without solution of continuity.. |
|
Presentation
and musical analysis
