This is the only
concerto that Sibelius wrote, though he composed several other smaller-scale pieces for solo instrument and
orchestra, including the six Humoresques for violin and orchestra. One noteworthy feature of the work is the way in which an extended
cadenza for the soloist takes on the role of the
development section in the
sonata form first movement. Much of the violin writing is purely virtuosic, but even the most showy passages alternate with the melodic. This concerto is generally symphonic in scope, departing completely from the often lighter, "rhythmic" accompaniments of many other concertos.
Donald Tovey regarded the concerto as an unparalleled example of this styling and wrote that he had "not met a more original, a more masterly, and a more exhilarating work than the Sibelius violin concerto".
Scoring The concerto is scored for solo
violin, 2
flutes, 2
oboes, 2
clarinets, 2
bassoons, 4
horns, 2
trumpets, 3
trombones,
timpani and
strings.
Movements Like most concertos, the work is in three
movements: {{ordered list|list_style_type=upper-roman
I. Allegro moderato The first movement opens with a cushion of pianissimo strings pulsating gently. The soloist then enters with a first
theme featuring a G-A-D motif, which is briefly echoed by a clarinet solo. : After a passionate high F and an unexpected E-flat major chord, the soloist introduces a new, dark theme on the G string. The lower woodwinds and timpani accompany the violinist in several runs. Cadenza-like arpeggios,
double stops, and more runs from the soloist are accompanied by more woodwind restatements of the theme. The soloist then plays a relatively brief cadenza featuring rapid sixteenth notes and quick string crossings. After an ascending scale from the solo violin in broken octaves, the strings then enter in a symphonic manner, announcing the second half of the exposition material in. The music is then carried on by the bassoons and clarinets before another entrance of the soloist. The violin plays a gentle, ascending motif, followed by a quick arpeggio which ascends into a heroic theme in
B♭ minor, culminating in
affettuoso octaves. The soloist softly soars in a slow,
D♭ major arpeggio which leads into a tender, winding broken-octave passage built upon the heroic theme. These octaves build to a trill on one string with the winding figure played articulately on another. Another forceful orchestral tutti leads to an extensive violin cadenza. The cadenza occupies the developmental portion of the movement and ends just before the
recapitulation, the heroic theme being played by the violin a semitone higher than before, in
B minor. Returning to
D minor, a long trill from the soloist suddenly transitions into the virtuosic coda, requiring remarkable skill in octaves, rapid and wide shifts to
harmonics, and ricochet bowing. An upward cascade of double stops, a chord with a fingered harmonic, and a strong final D conclude the first movement.
II. Adagio di molto The second movement is very lyrical. A short theme from the clarinets and oboes leads into the main theme, played by the solo violin over
pizzicato strings.
Dissonant accompaniments by the brass dominate the first part of the song-like movement. : After, the orchestra enters boldly with the introductory theme in a tempestuous mood. Suddenly, the solo violin enters with plaintive, double-stopped, polyrhythmic phrases. The passage develops into continuous triplet-sixteenth notes, which lead into a building trill section. After a climactic high C and B-flat, the music relaxes, leading to graceful upward scales in broken octaves by the violinist. Soon after, the solo violin increases the tension once again and finally comes to the movement's main climax, which is essentially a variation of the first theme. Then, the solo violin restates the first theme and, playing gently grace-noted figures, ends with a light float up to an all-serene harmonic D. Soft
B-flat major chords by the orchestra accompany this tranquil close to the movement.
III. Allegro, ma non tanto Tovey describes the final movement as a "
polonaise for
polar bears". It opens with four bars of rhythmic percussion, with the lower strings playing 'eighth note – sixteenth note – sixteenth note' figures. The violin boldly enters with the first theme on the G string. This first section offers a complete and brilliant display of violin gymnastics with up-bow
staccato double-stops and a run with rapid string-crossing, then octaves, that leads into the first
tutti. : The second theme in
G minor is taken up by the orchestra and is almost like a
waltz; the violin takes up the same theme in
variations, with
arpeggios and double-stops. Another short section concluding with a run of octaves makes a bridge into a recapitulation of the first theme. The second theme is restated, this time in
D minor, before leading to the final section introduced by the clarinets and low brass. A passage of
harmonics in the violin precedes a sardonic passage of chords and slurred double-stops. A passage of broken octaves leads to an incredibly heroic few lines of double-stops and leaping octaves. A brief orchestral
tutti comes before the violin leads the concerto to the finish with a D major scale up, returning down in flatted
supertonic (then repeated). A flourish of ascending slur-separate sixteenth notes, punctuated by a resolute D from the violin and orchestra, concludes the concerto. ==References==