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Violin Concerto (Mendelssohn)

Felix Mendelssohn's Violin Concerto in E minor, Op. 64, is his last concerto. Well received at its premiere, it has remained among the most prominent and highly-regarded violin concertos. It holds a central place in the violin repertoire and has developed a reputation as an essential concerto for all aspiring concert violinists to master, and usually one of the first Romantic era concertos they learn.[1][2][3] A typical performance lasts just under half an hour.

Violin Concerto
by Felix Mendelssohn
Mendelssohn in 1846 by Eduard Magnus
KeyE minor
Opus64
Year1844 (1844)
PeriodRomantic
GenreConcerto
Composed1838 (1838)–1844
Movements3
ScoringViolin and orchestra
Premiere
Date13 March 1845 (1845-03-13)
LocationLeipzig

Mendelssohn originally proposed the idea of the violin concerto to Ferdinand David, a close friend and then concertmaster of the Leipzig Gewandhaus Orchestra. Although conceived in 1838, the work took another six years to complete and was not premiered until 1845. During this time, Mendelssohn maintained a regular correspondence with David, who gave him many suggestions. The work itself was one of the foremost violin concertos of the Romantic era and was influential on many other composers.

Although the concerto consists of three movements in a standard fast–slow–fast structure and each movement follows a traditional form, it was innovative and included many novel features for its time. Distinctive aspects include the almost immediate entrance of the violin at the beginning of the work (rather than following an orchestral preview of the first movement's major themes, as was typical in Classical-era concertos) and the through-composed form of the concerto as a whole, in which the three movements are melodically and harmonically connected and played attacca (each movement immediately following the previous one without any pauses).

Many violinists have recorded the concerto and it is performed in concerts and classical music competitions. It was recorded by Nathan Milstein and the New York Philharmonic as an album and released as the first LP record upon the format's introduction in 1948.[4]

History

 
Ferdinand David, the violinist who premiered the piece and whose collaboration was essential for the concerto's birth

Following his appointment in 1835 as principal conductor of the Leipzig Gewandhaus Orchestra,[5] Mendelssohn named his childhood friend Ferdinand David as the orchestra's concertmaster.[6] The work's origins derive from this professional collaboration. In a letter dated 30 July 1838, Mendelssohn wrote to David: "I should like to write a violin concerto for you next winter. One in E minor runs through my head, the beginning of which gives me no peace."[7][8]

The concerto took another six years to complete. There are many possible reasons for the delay, including self-doubt,[9] his third symphony[10] and an unhappy period in Berlin after a request from King Frederick William IV of Prussia.[11] Nevertheless, Mendelssohn and David kept up a regular correspondence during this time,[7] with Mendelssohn seeking technical and compositional advice. Indeed, this violin concerto was the first of many to have been composed with the input of a professional violinist, and would influence many future collaborations.[10] The autograph score is dated 16 September 1844, but Mendelssohn was still seeking advice from David until its premiere.[6] The concerto was first performed in Leipzig on 13 March 1845 with Ferdinand David as soloist. Mendelssohn was unable to conduct due to illness and the premiere was conducted by the Danish composer Niels Gade.[10] Mendelssohn first conducted the concerto on 23 October 1845 again with Ferdinand David as soloist.[10]

An autograph manuscript of the concerto re-emerged in 1989 in the Biblioteka Jagiellonska in Kraków, leading to some scholarly scepticism of the veracity of Breitkopf & Härtel's 1862 edition of the published score. Some notable differences include the tempo character of the first movement being written as "Allegro con fuoco" rather than the commonplace "Allegro molto appassionato" as well as significant alterations of the solo violin's passage-work.[12]

Instrumentation

The work is scored for solo violin and a standard orchestra of its period, consisting of two flutes, two oboes, two clarinets in a, two bassoons, two Natural horns, two Natural trumpets, timpani, and strings.[3][10]

Movements

The concerto consists of three movements with the following tempo markings:

  1. Allegro molto appassionato (E minor)
  2. Andante (C major)
  3. Allegretto non troppo – Allegro molto vivace (E major)

Allegro molto appassionato

12–14 minutes

 

Instead of an orchestral tutti, the concerto opens with the almost immediate entry of the solo violin, playing the very tune in E minor that gave Mendelssohn no peace.[13] Following a bravura of rapidly ascending notes, the opening theme is then restated by the orchestra.[10] There is then a frenetic chromatic transition passage[10] as the music subsides and modulates into a tranquil second subject theme in G major.[14] The melody is initially played by the woodwinds with the soloist providing a pedal note on an open G string.[13] The tune is played by the solo violin itself before a short codetta ends the exposition section of the opening movement. The opening two themes are then combined in the development section, where the music builds up to the innovative cadenza, which Mendelssohn wrote out in full rather than allowing the soloist to improvise.[6] The cadenza builds up speed through rhythmic shifts from quavers to quaver-triplets and finally to semiquavers,[9] which require ricochet bowing from the soloist.[15] This serves as a link to the recapitulation, where the opening melody is played by the orchestra, accompanied by the continuing ricochet arpeggios by the soloist. During the recapitulation, the opening themes are repeated with the second theme being played in the E major before returning to E minor for the closing of the movement. The music gathers speed into the coda, which is marked "Presto",[15] before a variant of the original chromatic transition passage ends the first movement.

Andante

7–9 minutes

 

The bassoon sustains its B from the final chord of the first movement before moving up a semitone to middle C.[10] This serves as a key change from the E minor opening movement into the lyrical C major slow movement. The movement is in ternary form and is reminiscent of Mendelssohn's own Songs Without Words.[9] The theme to the darker, middle section in A minor[14] is first introduced by the orchestra before the violin then takes up both the melody and the accompaniment simultaneously. The tremulous accompaniment[10] requires nimble dexterity from the soloist before the music returns to the main lyrical C major theme, this time leading towards a serene conclusion.

Allegretto non troppo – Allegro molto vivace

6–7 minutes

 

Following the second movement, there is a brief fourteen-bar transitional passage in E minor for solo violin and strings only.[15] This leads into the lively and effervescent finale, the whole of which is in E major and whose opening is marked by a trumpet fanfare.[10] This movement is in sonata rondo form[14] with an opening theme requiring fast passage work from the soloist. The opening exposition leads into a brief second B major[9] theme which is played by the soloist and builds to a series of rapidly ascending and descending arpeggios, reminiscent of the cadenza from the first movement. The orchestra then plays a variation of the opening melody, after which the music moves into a short development section in G major.[9] The recapitulation is essentially similar to the exposition, apart from the addition of a counter-melody in the strings. The second theme is repeated, this time in the home key of E Major. There is almost a small cadenza near the end of the movement when the woodwinds play the main tune against prolonged trills from the solo violin.[9] The concerto then concludes with a frenetic coda.

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.[13] Although the first movement is mostly in the conventional 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.[10]

The cadenza is also novel in that it is written out as part of the concerto[9] and located before the recapitulation.[10] 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. Mendelssohn's written cadenza was not included in the first published version of the concerto, but instead a "streamlined" version by Ferdinand David without the contrapuntal complexity of the original. This is the most played version today, although some artists, e.g. Arabella Steinbacher, play Mendelssohn's original.[16] Joshua Bell performs the concerto with his own cadenza.[17]

The violin concerto stands out from previous concertos with its connected movements.[9] There is no break between the first and second movements, with a bassoon note held between the two.[10] 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.[18] The linking was designed to eliminate applause between movements. This would have come as a surprise to Mendelssohn's audience, who, unlike today's, were used to applauding between movements.[10]

The concerto also calls on the soloist to function as an accompanist to the orchestra for extended periods, such as the ricochet arpeggios at the start of the recapitulation. This too was novel for a violin concerto of its time.[9]

Legacy

Mendelssohn's Violin Concerto influenced the concertos of many other composers, who adopted aspects of it in their own concertos.[13]

For example, the unusual placement of the cadenza before the recapitulation is reflected in the violin concerto of Tchaikovsky (where the cadenza is similarly placed) and the violin concerto of Sibelius (where the cadenza serves to extend the development section).[9] Moreover, following this concerto it was very rare for a composer to leave a cadenza unwritten for the soloist to improvise as in the days of Mozart and Beethoven.[13] The linking of the three movements also influenced other concertos, such as Liszt's Second Piano Concerto.[9]

The concerto itself was an instant success, warmly received at its premiere and well received by contemporary critics.[19] By the end of the nineteenth century, the piece was already considered one of the greatest violin concertos in the repertoire.[9] It would become one of Mendelssohn's most popular pieces, and was still regularly performed even when interest in his music declined in the early twentieth century.[5] In 1906, the year before his death, the celebrated violinist Joseph Joachim told the guests at his 75th birthday party:[10]

The Germans have four violin concertos. The greatest, most uncompromising is Beethoven's. The one by Brahms vies with it in seriousness. The richest, the most seductive, was written by Max Bruch. But the most inward, the heart's jewel, is Mendelssohn's.

The work has developed a reputation as an essential one for aspiring violin virtuosi to conquer.[20] This has led to its becoming virtually ubiquitous in the discography of concert violinists, even including those who were only active at the very dawn of recorded sound and of whom very little recorded music exists, such as Eugène Ysaÿe.[21] Even so, it remains technically challenging and is generally considered to be as difficult as many other famous counterparts.[22]

References

  1. ^ "BBC Mendelssohn Profile". Retrieved 26 April 2007.
  2. ^ Dane, J. "Facility & Mastery: Felix Mendelssohn". University of Chicago. Retrieved 28 April 2007.
  3. ^ a b Mendelssohn, F. Violin Concerto in E minor, Op. 64, Dover Miniature Scores (1999)
  4. ^ Murphy, Colleen "Cosmo" (n.d.). "The Art of the Album Part One". Classic Album Sundays. Retrieved 3 June 2020.
  5. ^ a b Mercer-Taylor, P. J. The Cambridge Companion to Mendelssohn, CUP (2004)
  6. ^ a b c "Ferdinand David", The Musical Times, Vol. 47, No. 761
  7. ^ a b Dr. Rietz, J. Letters of Felix Mendelssohn, 1833–1847, Ayer (1970)
  8. ^ Mendelssohn-Bartholdy, Felix; Mendelssohn-Bartholdy, Paul; Mendelssohn-Bartholdy, Karl; Rietz, Julius (1863). Briefe aus den Jahren 1830 bis 1847 (in German). Vol. 2. Getty Research Institute. Leipzig: H. Mendelssohn. p. 174.
  9. ^ a b c d e f g h i j k l Keefe, Simon P. The Cambridge Companion to the Concerto, CUP (2005)
  10. ^ a b c d e f g h i j k l m n o Steinberg, Michael. The Concerto: A Listener's Guide, OUP (1998)
  11. ^ Jacobson, J. H. The Classical Music Experience, Sourcebooks, Inc. (2002)
  12. ^ Stowell, Robin (26 July 2001). The Early Violin and Viola: A Practical Guide. Cambridge University Press. p. 152. ISBN 978-0-521-62555-5. Retrieved 29 August 2017.
  13. ^ a b c d e Kerman, J. Concerto Conversations, HUP (1999)
  14. ^ a b c Stowell R. The Cambridge Companion to the Violin, CUP (1992)
  15. ^ a b c Mendelssohn, F. Violin Concerto in E minor, Op. 64, Bärenreiter (2005)
  16. ^ Program notes, New York Philharmonic, October 2013
  17. ^ Program notes, New York Philharmonic, December 2015
  18. ^ Wilson, C. Notes on Mendelssohn: 20 Crucial Works, Eerdmans Books (2005)
  19. ^ Mendelssohn, F. Violin Concerto in E minor, Op. 64, Eulenberg Miniature Scores
  20. ^ Reel, J. . Strings Magazine (147). Archived from the original on 9 December 2007. Retrieved 5 October 2007.
  21. ^ Monsaingeon, B. (Director) and NVC Arts Great Performances – The Art of the Violin, Warner Music Vision [DVD] (2000)
  22. ^ . Archived from the original on 17 May 2007. Retrieved 24 April 2007.

External links

violin, concerto, mendelssohn, felix, mendelssohn, violin, concerto, minor, last, concerto, well, received, premiere, remained, among, most, prominent, highly, regarded, violin, concertos, holds, central, place, violin, repertoire, developed, reputation, essen. Felix Mendelssohn s Violin Concerto in E minor Op 64 is his last concerto Well received at its premiere it has remained among the most prominent and highly regarded violin concertos It holds a central place in the violin repertoire and has developed a reputation as an essential concerto for all aspiring concert violinists to master and usually one of the first Romantic era concertos they learn 1 2 3 A typical performance lasts just under half an hour Violin Concertoby Felix MendelssohnMendelssohn in 1846 by Eduard MagnusKeyE minorOpus64Year1844 1844 PeriodRomanticGenreConcertoComposed1838 1838 1844Movements3ScoringViolin and orchestraPremiereDate13 March 1845 1845 03 13 LocationLeipzigMendelssohn originally proposed the idea of the violin concerto to Ferdinand David a close friend and then concertmaster of the Leipzig Gewandhaus Orchestra Although conceived in 1838 the work took another six years to complete and was not premiered until 1845 During this time Mendelssohn maintained a regular correspondence with David who gave him many suggestions The work itself was one of the foremost violin concertos of the Romantic era and was influential on many other composers Although the concerto consists of three movements in a standard fast slow fast structure and each movement follows a traditional form it was innovative and included many novel features for its time Distinctive aspects include the almost immediate entrance of the violin at the beginning of the work rather than following an orchestral preview of the first movement s major themes as was typical in Classical era concertos and the through composed form of the concerto as a whole in which the three movements are melodically and harmonically connected and played attacca each movement immediately following the previous one without any pauses Many violinists have recorded the concerto and it is performed in concerts and classical music competitions It was recorded by Nathan Milstein and the New York Philharmonic as an album and released as the first LP record upon the format s introduction in 1948 4 Contents 1 History 2 Instrumentation 3 Movements 3 1 Allegro molto appassionato 3 2 Andante 3 3 Allegretto non troppo Allegro molto vivace 4 Analysis 5 Legacy 6 References 7 External linksHistory Edit Ferdinand David the violinist who premiered the piece and whose collaboration was essential for the concerto s birth Following his appointment in 1835 as principal conductor of the Leipzig Gewandhaus Orchestra 5 Mendelssohn named his childhood friend Ferdinand David as the orchestra s concertmaster 6 The work s origins derive from this professional collaboration In a letter dated 30 July 1838 Mendelssohn wrote to David I should like to write a violin concerto for you next winter One in E minor runs through my head the beginning of which gives me no peace 7 8 The concerto took another six years to complete There are many possible reasons for the delay including self doubt 9 his third symphony 10 and an unhappy period in Berlin after a request from King Frederick William IV of Prussia 11 Nevertheless Mendelssohn and David kept up a regular correspondence during this time 7 with Mendelssohn seeking technical and compositional advice Indeed this violin concerto was the first of many to have been composed with the input of a professional violinist and would influence many future collaborations 10 The autograph score is dated 16 September 1844 but Mendelssohn was still seeking advice from David until its premiere 6 The concerto was first performed in Leipzig on 13 March 1845 with Ferdinand David as soloist Mendelssohn was unable to conduct due to illness and the premiere was conducted by the Danish composer Niels Gade 10 Mendelssohn first conducted the concerto on 23 October 1845 again with Ferdinand David as soloist 10 An autograph manuscript of the concerto re emerged in 1989 in the Biblioteka Jagiellonska in Krakow leading to some scholarly scepticism of the veracity of Breitkopf amp Hartel s 1862 edition of the published score Some notable differences include the tempo character of the first movement being written as Allegro con fuoco rather than the commonplace Allegro molto appassionato as well as significant alterations of the solo violin s passage work 12 Instrumentation EditViolin Concerto in E minor Op 64 Allegro molto appassionato source source Andante source source Allegretto non troppo Allegro molto vivace source source Performed by Franziska Fruh with the Fulda Symphonic Orchestra The work is scored for solo violin and a standard orchestra of its period consisting of two flutes two oboes two clarinets in a two bassoons two Natural horns two Natural trumpets timpani and strings 3 10 Movements EditThe concerto consists of three movements with the following tempo markings Allegro molto appassionato E minor Andante C major Allegretto non troppo Allegro molto vivace E major Allegro molto appassionato Edit 12 14 minutes source Audio playback is not supported in your browser You can download the audio file Instead of an orchestral tutti the concerto opens with the almost immediate entry of the solo violin playing the very tune in E minor that gave Mendelssohn no peace 13 Following a bravura of rapidly ascending notes the opening theme is then restated by the orchestra 10 There is then a frenetic chromatic transition passage 10 as the music subsides and modulates into a tranquil second subject theme in G major 14 The melody is initially played by the woodwinds with the soloist providing a pedal note on an open G string 13 The tune is played by the solo violin itself before a short codetta ends the exposition section of the opening movement The opening two themes are then combined in the development section where the music builds up to the innovative cadenza which Mendelssohn wrote out in full rather than allowing the soloist to improvise 6 The cadenza builds up speed through rhythmic shifts from quavers to quaver triplets and finally to semiquavers 9 which require ricochet bowing from the soloist 15 This serves as a link to the recapitulation where the opening melody is played by the orchestra accompanied by the continuing ricochet arpeggios by the soloist During the recapitulation the opening themes are repeated with the second theme being played in the E major before returning to E minor for the closing of the movement The music gathers speed into the coda which is marked Presto 15 before a variant of the original chromatic transition passage ends the first movement Andante Edit 7 9 minutes source Audio playback is not supported in your browser You can download the audio file The bassoon sustains its B from the final chord of the first movement before moving up a semitone to middle C 10 This serves as a key change from the E minor opening movement into the lyrical C major slow movement The movement is in ternary form and is reminiscent of Mendelssohn s own Songs Without Words 9 The theme to the darker middle section in A minor 14 is first introduced by the orchestra before the violin then takes up both the melody and the accompaniment simultaneously The tremulous accompaniment 10 requires nimble dexterity from the soloist before the music returns to the main lyrical C major theme this time leading towards a serene conclusion Allegretto non troppo Allegro molto vivace Edit 6 7 minutes source Audio playback is not supported in your browser You can download the audio file Following the second movement there is a brief fourteen bar transitional passage in E minor for solo violin and strings only 15 This leads into the lively and effervescent finale the whole of which is in E major and whose opening is marked by a trumpet fanfare 10 This movement is in sonata rondo form 14 with an opening theme requiring fast passage work from the soloist The opening exposition leads into a brief second B major 9 theme which is played by the soloist and builds to a series of rapidly ascending and descending arpeggios reminiscent of the cadenza from the first movement The orchestra then plays a variation of the opening melody after which the music moves into a short development section in G major 9 The recapitulation is essentially similar to the exposition apart from the addition of a counter melody in the strings The second theme is repeated this time in the home key of E Major There is almost a small cadenza near the end of the movement when the woodwinds play the main tune against prolonged trills from the solo violin 9 The concerto then concludes with a frenetic coda Analysis EditThe 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 13 Although the first movement is mostly in the conventional 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 10 The cadenza is also novel in that it is written out as part of the concerto 9 and located before the recapitulation 10 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 Mendelssohn s written cadenza was not included in the first published version of the concerto but instead a streamlined version by Ferdinand David without the contrapuntal complexity of the original This is the most played version today although some artists e g Arabella Steinbacher play Mendelssohn s original 16 Joshua Bell performs the concerto with his own cadenza 17 The violin concerto stands out from previous concertos with its connected movements 9 There is no break between the first and second movements with a bassoon note held between the two 10 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 18 The linking was designed to eliminate applause between movements This would have come as a surprise to Mendelssohn s audience who unlike today s were used to applauding between movements 10 The concerto also calls on the soloist to function as an accompanist to the orchestra for extended periods such as the ricochet arpeggios at the start of the recapitulation This too was novel for a violin concerto of its time 9 Legacy EditMendelssohn s Violin Concerto influenced the concertos of many other composers who adopted aspects of it in their own concertos 13 For example the unusual placement of the cadenza before the recapitulation is reflected in the violin concerto of Tchaikovsky where the cadenza is similarly placed and the violin concerto of Sibelius where the cadenza serves to extend the development section 9 Moreover following this concerto it was very rare for a composer to leave a cadenza unwritten for the soloist to improvise as in the days of Mozart and Beethoven 13 The linking of the three movements also influenced other concertos such as Liszt s Second Piano Concerto 9 The concerto itself was an instant success warmly received at its premiere and well received by contemporary critics 19 By the end of the nineteenth century the piece was already considered one of the greatest violin concertos in the repertoire 9 It would become one of Mendelssohn s most popular pieces and was still regularly performed even when interest in his music declined in the early twentieth century 5 In 1906 the year before his death the celebrated violinist Joseph Joachim told the guests at his 75th birthday party 10 The Germans have four violin concertos The greatest most uncompromising is Beethoven s The one by Brahms vies with it in seriousness The richest the most seductive was written by Max Bruch But the most inward the heart s jewel is Mendelssohn s The work has developed a reputation as an essential one for aspiring violin virtuosi to conquer 20 This has led to its becoming virtually ubiquitous in the discography of concert violinists even including those who were only active at the very dawn of recorded sound and of whom very little recorded music exists such as Eugene Ysaye 21 Even so it remains technically challenging and is generally considered to be as difficult as many other famous counterparts 22 References Edit BBC Mendelssohn Profile Retrieved 26 April 2007 Dane J Facility amp Mastery Felix Mendelssohn University of Chicago Retrieved 28 April 2007 a b Mendelssohn F Violin Concerto in E minor Op 64 Dover Miniature Scores 1999 Murphy Colleen Cosmo n d The Art of the Album Part One Classic Album Sundays Retrieved 3 June 2020 a b Mercer Taylor P J The Cambridge Companion to Mendelssohn CUP 2004 a b c Ferdinand David The Musical Times Vol 47 No 761 a b Dr Rietz J Letters of Felix Mendelssohn 1833 1847 Ayer 1970 Mendelssohn Bartholdy Felix Mendelssohn Bartholdy Paul Mendelssohn Bartholdy Karl Rietz Julius 1863 Briefe aus den Jahren 1830 bis 1847 in German Vol 2 Getty Research Institute Leipzig H Mendelssohn p 174 a b c d e f g h i j k l Keefe Simon P The Cambridge Companion to the Concerto CUP 2005 a b c d e f g h i j k l m n o Steinberg Michael The Concerto A Listener s Guide OUP 1998 Jacobson J H The Classical Music Experience Sourcebooks Inc 2002 Stowell Robin 26 July 2001 The Early Violin and Viola A Practical Guide Cambridge University Press p 152 ISBN 978 0 521 62555 5 Retrieved 29 August 2017 a b c d e Kerman J Concerto Conversations HUP 1999 a b c Stowell R The Cambridge Companion to the Violin CUP 1992 a b c Mendelssohn F Violin Concerto in E minor Op 64 Barenreiter 2005 Program notes New York Philharmonic October 2013 Program notes New York Philharmonic December 2015 Wilson C Notes on Mendelssohn 20 Crucial Works Eerdmans Books 2005 Mendelssohn F Violin Concerto in E minor Op 64 Eulenberg Miniature Scores Reel J All Things Strings Give it a Break Strings Magazine 147 Archived from the original on 9 December 2007 Retrieved 5 October 2007 Monsaingeon B Director and NVC Arts Great Performances The Art of the Violin Warner Music Vision DVD 2000 Violin Masterclass Graded Repertoire Archived from the original on 17 May 2007 Retrieved 24 April 2007 External links Edit Wikimedia Commons has media related to Violin Concerto E minor Violin Concerto Mendelssohn Scores at the International Music Score Library Project BBC Discovering Music browse for ram file containing discussion of this work ABC Classic FM Deep Listen guide based on a recording by the Tasmanian Symphony Orchestra with Niki Vasilakis Portal Classical music Retrieved from https en wikipedia org w index php title Violin Concerto Mendelssohn amp oldid 1144348651, wikipedia, wiki, book, books, library,

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