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Concerto in D Major for Violin & Orchestra, Op. 35
Pyotr Ilyich Tchaikovsky

Concerto in D Major for Violin & Orchestra, Op. 35
Pyotr Ilyich Tchaikovsky
(b. May 7, 1840, Votkinsk, Russia; d. November 6, 1893 in St. Petersburg)

Tchaikovsky’s Violin Concerto marks his full recovery from the intense disappointment he felt after his unwise marriage to Antonina Miliukova in July 1877 that lasted only six weeks before they separated. He escaped to his brother Anatolii's place in Switzerland where he could rest and recover. When Tchaikovsky went there in March 1878 it was with his violinist friend Iosif Kotek who was ready with vital technical assistance, Tchaikovsky plunged into creating his Violin Concerto in D major and did not surface until it was finished on April 11th.

A modest introduction of eight bars and the full orchestra begins an explosive buildup to the soloist's grand entrance—an arching phrase up and down leading to the main theme. A more ornamented restatement of the theme, then an extended transition with fireworks from the soloist leads to the second theme. A crescendo and accumulation of rhythmic intensity lead directly into the development beginning with the main theme for full orchestra. At the end of the development the solo violin's scintillating cadenza leads to the flute's statement of the primary theme and the recapitulation is underway. The coda ratchets up the tempo four times to a frenzied finish.

Canzonetta, in Tchaikovsky's lexicon, is an instrumental song. Chorale statements by the winds are like bookends around the soloist's remarkable outpouring. The violin not only sings, but yearns longingly, achingly, passionately. A cathartic experience that welled up and out of Tchaikovsky's soul, he completed this amazing movement in a single day.

The canzonetta leads into the finale without pause. A brief but forceful introduction segues to a short cadenza. Only now, the violin presents the rondo theme. The second theme brings some temporary lulls, but the violin brings back the main theme with gusto. Dramatic bravura riffs by the soloist alone are answered by the full orchestra. A brief pensive solo accelerates into the last statement of the rondo theme. More virtuoso riffs, and the violin begins a relentless torrent of notes, sprinting toward the goal while the orchestra cheerleads. Touchdown!

The road to its premiere was long and tortuous and not without hard feelings. He originally dedicated it to Leopold Auer who, he hoped, would premiere it. Auer returned it as unplayable so Adolf Brodsky gave its first performance in 1881 in Vienna. Brodsky was the dedicatee when the full orchestral score was published. Underrehearsed and played from mistake-filled parts that the musicians approached like a minefield, its debut was problematic. Brodsky believed in it, however, and played it repeatedly until it became the concert staple that it is today. Even Auer played it eventually and taught it to students like Heifetz and Milstein.

Although Tchaikovsky was predominantly homosexual, it is unfair to criticize him too harshly for marrying. He had a deep infatuation with Désirée Artôt that began in 1868 and they planned to marry. Tchaikovsky imagined and could appreciate a home life with children. He also knew how much it would please his father. Unfortunately she had a sudden change of heart and married someone else in 1869. In his marriage to Miliukova he was grasping to recover the trappings of normal family life he had lost with Artôt. Much later in life he admitted Artôt was the only woman he had ever loved.



Concerto in D Major for Violin & Orchestra, Op. 35
Pyotr Ilyich Tchaikovsky

Concerto in D Major for Violin & Orchestra, Op. 35
Pyotr Ilyich Tchaikovsky
(b. May 7, 1840, Votkinsk, Russia; d. November 6, 1893 in St. Petersburg)

Tchaikovsky’s Violin Concerto marks his full recovery from the intense disappointment he felt after his unwise marriage to Antonina Miliukova in July 1877 that lasted only six weeks before they separated. He escaped to his brother Anatolii's place in Switzerland where he could rest and recover. When Tchaikovsky went there in March 1878 it was with his violinist friend Iosif Kotek who was ready with vital technical assistance, Tchaikovsky plunged into creating his Violin Concerto in D major and did not surface until it was finished on April 11th.

A modest introduction of eight bars and the full orchestra begins an explosive buildup to the soloist's grand entrance—an arching phrase up and down leading to the main theme. A more ornamented restatement of the theme, then an extended transition with fireworks from the soloist leads to the second theme. A crescendo and accumulation of rhythmic intensity lead directly into the development beginning with the main theme for full orchestra. At the end of the development the solo violin's scintillating cadenza leads to the flute's statement of the primary theme and the recapitulation is underway. The coda ratchets up the tempo four times to a frenzied finish.

Canzonetta, in Tchaikovsky's lexicon, is an instrumental song. Chorale statements by the winds are like bookends around the soloist's remarkable outpouring. The violin not only sings, but yearns longingly, achingly, passionately. A cathartic experience that welled up and out of Tchaikovsky's soul, he completed this amazing movement in a single day.

The canzonetta leads into the finale without pause. A brief but forceful introduction segues to a short cadenza. Only now, the violin presents the rondo theme. The second theme brings some temporary lulls, but the violin brings back the main theme with gusto. Dramatic bravura riffs by the soloist alone are answered by the full orchestra. A brief pensive solo accelerates into the last statement of the rondo theme. More virtuoso riffs, and the violin begins a relentless torrent of notes, sprinting toward the goal while the orchestra cheerleads. Touchdown!

The road to its premiere was long and tortuous and not without hard feelings. He originally dedicated it to Leopold Auer who, he hoped, would premiere it. Auer returned it as unplayable so Adolf Brodsky gave its first performance in 1881 in Vienna. Brodsky was the dedicatee when the full orchestral score was published. Underrehearsed and played from mistake-filled parts that the musicians approached like a minefield, its debut was problematic. Brodsky believed in it, however, and played it repeatedly until it became the concert staple that it is today. Even Auer played it eventually and taught it to students like Heifetz and Milstein.

Although Tchaikovsky was predominantly homosexual, it is unfair to criticize him too harshly for marrying. He had a deep infatuation with Désirée Artôt that began in 1868 and they planned to marry. Tchaikovsky imagined and could appreciate a home life with children. He also knew how much it would please his father. Unfortunately she had a sudden change of heart and married someone else in 1869. In his marriage to Miliukova he was grasping to recover the trappings of normal family life he had lost with Artôt. Much later in life he admitted Artôt was the only woman he had ever loved.