Talk:Violin concerto

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Many of these could usefully be moved, as has been done with Piano concerto and Violoncello concerto, to a List of violin concertos. The list here is specifically - viz. title - of Notable violin concertos; I am not sure I would claim that (all) the concertos in the list are notable and I tend to be liberal in my categories. Schissel : bowl listen 18:15, 23 September 2005 (UTC)

Hello from another listaholic (who also happens to be intrigued by Schulhoff's setting of the Communist Manifesto - thanks for the LJ friending). I'd recommend following the precedent of Piano concerto and fleshing out the main text of the article to include more detailed coverage of the evolution of the musical form, illustrating the narrative with relevant commentary about the pieces that were most important to this development (Vivaldi, Bach, Mozart, Beethoven, Mendelssohn, Brahms, the moderns I can't remember right now). Then delete the section "Notable violin concertos" and transfer the entire catalog en masse to List of violin concertos. That arrangement, I hope, will save having to make agonizing triage decisions about pieces which have only "middling" reputations.--Defrosted 21:46, 23 September 2005 (UTC)

Hrm. Agreed (... one of these days I want to enter a good debate over the Concerto page itself, in part because the other pages should probably? discuss issues more specific to their solo instruments' concertos' history, balance problems, and everything else related to. With respect to concertos generally - several questions to be addressed there, esp. if- for instance!..- the page still claims that the first movement of the classical concerto has a "double exposition" (tutti, solo exposition). That most of Mozart's 23 piano concertos, say (forget K37-40...) are exceptions (the famous A major K488 is more or less not) tends to place doubt on such a "rule". Eh. Pardon. Soapboxing on irre-l-eph-ant topics. Still, when page A refers to page B, knowing what page B does cover is helpful in knowing what page A doesn't need to (modular programming projects come to my mind by way of analogy). Eh well. Alfred Einstein (surely not only he!) wrote that the -piano- concerto had the most equal pairing of soloist against orchestral forces; what does this say of the violin concerto (putting the cello concerto, and the famous anecdotes about Brahms, Dvorak, ... to the side) and how that genre must be written for... Dohnanyi's 2nd concerto does without the violins, I gather from the latest issue of Fanfare magazine, the author of a review in which suggested programming it with the Symphony of Psalms and the Brahms 2nd serenade. (Roger Sessions' concerto does also, unless I forget, though- actually, except for the fact that the two of those concertos might run most violinists ragged... that could be a fun concert. Erm, anyway.) Interesting to - within the bounds of an encyclopedia article and without original research if possible? - look at history of course, at answers to balance questions of course, at increased use of techniques (Tartini, I think, using resultant tones, but I don't know if that was in a sonata or a concerto - should check... Paganini concertos of course and others besides for increased use of techniques, which needs some mention in some detail... the intersection with the history of conducting (here I may be mistaken, but if a concerto was played by the concertmaster and there was no conductor more or less immediately before, say, Mendelssohn or Weber's day- different question for piano concertos which often were conducted from piano, unless I'm not the only one much mistaken - etc.) Schissel : bowl listen 04:37, 25 September 2005 (UTC)

Bernard Tan[edit]

I am uncomfortable with the listing of Bernard Tan's Violin Concerto as a "notable concerto." However, this is a subjective opinion, so I didn't want to take it down based only on my own views. Any other thoughts out there?

I moved a copy of the description to List of compositions for violin and orchestra and am under the opinion it should be moved also; tentatively remove it from here, yes, I think. Schissel | Sound the Note! 05:28, 10 July 2006 (UTC)

Violin concertos in four movements[edit]

Considering that the first (I believe) well-known post-Baroque concerto in four movements was Brahms' second for piano- I admit he did consider writing his earlier violin concerto in four movements also - does the recent anonymous edit on four movement violin concertos belong here, or, with some generality, in Concerto? Or some mixture of both? Schissel | Sound the Note! 14:53, 3 September 2006 (UTC)

Moving Concertos[edit]

I agree that many of these concerti are not significant. I would suggest moving Mozart's 6, 7 (why not listed as spurious?), and Adelaide (and maybe 1 and 2 also if you're feeling adventurous) to the list.


What is the name of the part where the violinist improvises? 15:23, 2 December 2006 (UTC)Lestrade

In Baroque (well, not early Baroque) - in most violin concertos, anyway, most concertos - the cadenza is the largest improvisatory section, though there are often briefer ones. In pre-Romantic era concertos, though, the soloist was expected to apply improvisation more generally, not just an improvised section between stricter sections (so a plain-seeming theme would be given some tasteful decoration by the soloist-artist.) Schissel | Sound the Note! 17:52, 24 December 2006 (UTC)

John Adams Violin Concerto[edit]

I added the John Adams Violin Concerto to the list. I believe the piece is now sufficiently notable to be added here. The work is defiantly played more often than any of Henri Vieuxtemps concertos! It has also been recorded a number of times and is played by advanced student violinists. --S.dedalus 03:41, 15 October 2007 (UTC)

"Selected list" of works[edit]

There are a lot of examples in the list that need not be there. Above the list are the words "The following concertos are presently found near the center of the mainstream Western repertoire". Many of them aren't. There is a page dedicated to listing violin concerti and I feel that, as the tag I added explains, there are excessive and poor examples: many of the "central" concerti have red links. I would remove many of them, but I don't feel that I am the right person to judge which concerti should be kept. I'd certainly advocate listing only a maximum of 10. (talk) 17:22, 4 October 2009 (UTC)

Agreed. With all due respect, Nigel Clarke should not be listed here. In fact, I think I'm going to simply remove him. I'll suggest Penderecki would be a much better choice if someone would like contemporary composers represented. —Preceding unsigned comment added by (talk) 21:31, 27 March 2010 (UTC)[edit]


I am a private researcher for more than 15 years about the violin concertos of the 20th century. I am collecting information from all over the world and put them together on a free of charge and free of ads website: I am or was in touch with hundreds of composers for detailed information about their works and for verifying the provided data. This database is the most complete in the world and the source for information about violin concertos from the 20th century. So if anyone here is into the topic of classical music in the 20th century he/she must have ran into my site over the last years. Therefore I cannot undertand why it is not possible to have a link to my website on this wiki article? This is pure research I am doing, I do not earn money and I don't want to earn money with it. So who the heck means he/she is so qualified about violin concertos to remove my site?

I am looking forward to the answers! Tobias — Preceding unsigned comment added by (talk) 11:13, 2 December 2012 (UTC)