Visionaries

Mozart's V Violin Concerto in A major K. 219, often called “Turkish”, is an example of the young composer's cosmopolitanism and masterful mastery of form. After the tutti exposition, the solo violin enters with a sudden change of tempo. It is only when the initial allegro returns that the musical thought presented in the tutti exposition is only an accompaniment to the main theme introduced by the solo violin. Mozart's surprising treatment gives this part, kept in the classical sonata form characteristic of the composer, brilliance and color.

The second part of Karłowicz's Violin Concerto Op. 20 “approaches the style of Bach's violin cantilene”, while the third “is characterized by wit and a rhythm full of vigor”. The work, written for the composer's violin professor, Stanisław Barcewicz, has enjoyed great success both among the public and critics since its premiere. Appreciated for its “subtle and fresh” accompaniment of the orchestra and its spectacular solo part, rich in figuration and numerous multi-sounds, led the critic of the “Weekly Review” in his account of the Warsaw concert of 28 November 1904 to compare Karłowicz to Vieuxtemps.

In Fantasia Op. 20 Wieniawski chose to use a variety of thematic material from Gounod's opera Faust, but avoided the most popular passages. As a result, three thematic spheres can be detailed: romantic, demonic and dance. They make up a four-part whole, in which the narrative is built on the contrasts of expression and pace. The composer masterfully used his virtuosity to emphasize the variability of moods, while contributing to the development of violin technique. Fantasia, although initially not met with enthusiastic reception, remains to this day one of Wieniawski's most played works.

Different from the previous three, Beethoven's 4th Sonata in A minor Op. 23 announces a new relationship between violin and piano. Both instruments function as equivalent voices in a compact structure based on expressive dynamic contrasts. Particularly extraordinary is its second part, a slow scherzo with a trio unfolding like a fugue.

Dedicated to the outstanding violinist Pablo Sarasate, the Introduction and Rondo capriccioso op. 28 by Camille Saint-Saëns is a work full of pure sang virtuosity. The showiness appears already in the moody introduction preceding the extensive, energetic chorus of Ronda, interspersed in turn with more lyrical couplets. The composition, crowned with a spectacular code, has been in the obligatory repertoire of violinists for years as a truly concert piece, full of color and perky character.

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