Analysis
The concerto is innovative in many respects. In the first movement alone, Mendelssohn departs from the typical form of a Classical concerto in many ways, the most immediate being the entry of the soloist almost from the outset, which also occurs in his First Piano Concerto. Although the first movement is mostly in sonata form, Mendelssohn has the first theme played by the solo violin and then by the orchestra. Classical concertos typically opened with an orchestral introduction followed by a version of essentially the same material that incorporates the soloist.
The cadenza is also novel in that it is written out as part of the concerto, and located before the recapitulation. In a typical Classical concerto, the cadenza is improvised by the performing soloist and occurs at the end of a movement, after the recapitulation and just before the final coda.
The violin concerto stands out from previous concertos with its connected movements. There is no break between the first and second movements, with a bassoon note held between the two. The bridging passage between the last two movements begins almost immediately after the slow movement. The melody is similar to that of the opening, which hints at the cyclic form of the piece. The linking was designed to eliminate applause between movements. This would have come as a surprise to Mendelssohn's audience, who unlike today were used to applauding between movements.
The concerto also calls on the soloist to be nothing more than just an accompanist to the orchestra for extended periods, an example being the ricochet arpeggios at the start of the recapitulation. This too was novel for a violin concerto of its time.
Read more about this topic: Violin Concerto (Mendelssohn)
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