By Jacob Stockinger
Recently The Ear stumbled upon a fascinating story, on a blog by Nathan Cole, about famous violin concertos.
It was NOT about the Top 10 Best Violin Concertos ranked in order.
It was NOT about the Top 10 Most Difficult Violin Concertos.
It was simply about the most difficult openings of violin concertos – about what happens when the violinist walks on stage and starts up along with the orchestra or before it or after it.
It uses the Olympics’ sports competitions as a model and awards degrees of difficulty along with explanations for the scoring.
(For a close to simultaneous start by orchestra and soloist, listen to American violinist Hillary Hahn, who played a recital last spring at the Wisconsin Union Theater, and conductor Paavo Jarvi in the opening of the popular Violin Concerto in E Minor by Felix Mendelssohn in the YouTube video at the bottom. It has over 8 million hits and it is very relevant to the story.)
The story reminds The Ear of famous literary critic Frank Kermode’s classic book “The Sense of an Ending” — only now it would be “The Sense of a Beginning,” a subject the late literary critic, cultural analyst and Palestinian activist Edward Said wrote about in his book “Beginnings: Intention and Method.”
The musical discussion features accessible and informative analysis by an accomplished violinist as well as terrific audio-visual clips of each concerto and the openings in question.
It’s a long piece – good for weekend reading, perhaps because it can be done in different segments at different times.
But even if you read only a part of it, it certainly imparts a sense of the challenges that a soloist faces. You vicariously experience the thrill and intimidation of walking out on stage and starting to play.
And it enhances your appreciation of some famous violin concertos and of what it takes to pull them off in live performance.
Like The Ear, you will come away with a new appreciation of the challenges that any concerto soloist – violinist, pianist, cellist, brass player, wind player, whatever — faces.
Here is a link:
The Ear also hopes the website violinist.com follows up with a listing or ranking of the most difficult ENDINGS of violin concertos and a discussion of what makes them so difficult.
In the meantime, The Ears asks:
Do violinists out there agree or disagree with the scoring and reasons?
Do they care to leave a comment one way or the other?
The Ear wants to hear.