Historical Development of Violin Concertos (XI) – Performance Practice of Mozart Violin Concerto No: 5

As i described last week’s assignment, in order to perform Mozart concerto in successful interpretation, there are some aspects to actualize. In this essay, i will definite other musical aspect of performing Mozart No.5 Violin Concerto.

First of all, concerto begins with a tutti, after that tutti, in contrast to repeat tutti, solo violin has adagio section. This phrase should play as all notes are attached with each other. Bow crossings should be not showed. Also, it should be heard soft. After that phrase, Allegro Aperto section which is main theme appears. Especially, after adagio, that section should perform active and articulated. Scale passage between measures 54-60 should be indicated with crescendo. Like all Mozart compositions, thrills should begin from upper note.

The sixteenth passage between 70-72 mm. is hard to play articulated. In order to perform this articulated, performer should put an accent first note of each sixteenth note. In measure 104, there is dotted eighteenth rhythm. This motive should be played not sttaccato or legato. This should be between them. In measure 110, eighteenth notes should perform separate with each other. In concerto there are several phrase which repeated as in measure 136-140. This repetitions should be play in different way. According to general Mozart interpretation first one is Forte, second one is Piano.

In Cadence ( by Joachim), there are some aspects which are changed according to performer’s interpretation. According to my opinion, performer should separate cadence to section. First two measure of cadence is like a child theme. Spiccato in passage should be play like joke. After that, scales should be performed flowing. After every phrase, performer should take a breath and start new statement after that. According to my idea, cadence should not be so fast. Dynamics should be performed properly.

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