The solo then returned to the violin, starting adagio and then increasing the pace for theentireorchestra. Overall, this movement remained somberwithperiods of excitement, indicated by the orchestra playing at an activepace.The violins contributed by adding descending scales of pizzicato notes.Themelody then became a legato solo, which commenced in the oboe and waspassed tothe basses. Thenextmovement of the Concerto began in the woodwinds with a legato melodypunctuatedby one note played by the horns. This movement ended with the entireorchestraplaying fortissimo with a strong beat. The high point of the first movement occurred when thesoloviolin produced an extremely high pitch in pianissimo and slowed down to a static pace,demonstrating herability on the instrument. When thesolo violinreturned, it was accompanied by the other violins playing a backgroundofstaccato notes.
From this point, the texture variedbetween themonophony of the solo violin and the homophony heard from the fullorchestra.The melody introduced by the violin was then repeated in variousinstrumentswith large contrasts in dynamics and tempo, although the predominatingtempowas allegro. The Concerto openedwith the orchestra playing a crescendo until the appearance of thesoloist, whopresented the principle themes. 35, by PiotrIl’yichTchaikovsky, with the famous violinist Midori as the featured soloist.Thepiece was divided into three movements, the first being Allegromoderato. Thefirstpiece performed was the Violin Concerto in D major, Op. The performance consisted of only two pieces, yet both were metwithenthusiastic applause and praise.
On October 15 Iattended a concertby the NDR Symphony Orchestra of Hamburg at the New Jersey PerformingArtsCenter.
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