Wieniawski

Stylistic Changes in Two Violin Concertos by Henryk Wieniawski
A document submitted to the
Graduate School
of the University of Cincinnati
in partial fulfillment of the
requirements for the degree of
DOCTOR OF MUSICAL ARTS
in the Performance Studies Division

of the College-Conservatory of Music
Violin
2015
By
DaeJin Bae
B.M., Butler University, 2005

M.M., University of Cincinnati, 2007
Committee Chair: Piotr Milewski, DMA
i
Abstract
Henryk Wieniawski (1835–1880), a Polish concert virtuoso and composer, ranked among
the most significant violinists of the nineteenth century. Wieniawski published two violin
concertos, Op.14 and Op.22; composed about ten years apart, their respective styles are distinct
from one another, reflecting both Wieniawski’s experience as a touring virtuoso and the
influences of earlier and contemporary leading violinist-composers such as Viotti, Kreutzer,
Rode, Paganini, Lipiński, de Bériot, Ernst, Vieuxtemps, and Joachim. Referencing other
influential violin concertos of the time and developments in the virtuosic concerto genres, this
document explores the stylistic differences between Wieniawski’s two concerti through
comparative study of form, musical content and technical aspects. Issues and debates based on
available sources relating to the formal study of the two concertos are discussed; ultimately, this
document attempts to reconcile the various interpretations in a comprehensive composite guide.
This research thus presents a fuller understanding of Wieniawski’s concerti within the larger
context of how the genre of virtuoso concertos was developed and established in the Romantic
era.
i
Copyright © 2015 by DaeJin Bae.
All rights reserved.
ii
Acknowledgements
I first thank God for giving me the wonderful opportunity to study abroad. I am very
grateful to my dear professor Dr. Piotr Milewski for inspiring me to get through all the
requirements to become a doctoral candidate. I deeply appreciate his teaching acumen,
intelligence and encouragement. I further thank two committee members, Dr. Christopher Segall
and Lee Fiser, for providing much helpful feedback during the process of compiling this
document.
I could not be happier to spend precious time at home with my family recently. My
father; a singer, conductor, and pastor, Jung-Haeng Bae, has always prayed for me, especially
during my illness in 2014. My mother Moon-Kyung Yoo has constantly encouraged my pursuit
of musical education. I also thank my dear brother, Dae-Woo Bae, whose financial support
allowed me to stay in the U.S.
Among many friends who have encouraged me, I must give thanks to Kevin Rockwood
and Rebekka Gold, proofread and edited several drafts of this document.
Lastly, I am so grateful to the people in the military band I directed during my army
service from 2010 to 2013. I not only learned about conducting, teaching and music making, but
also had the most valuable and memorable experience in how we should appreciate all the
beautiful things God has given us to achieve our goals in life.
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Table of Contents
Abstract…………………………………………………………………………….........................i
Acknowledgements………………………………………………………………………………iii
List of Tables …………..………………………………………………………………………....v
List of Musical Examples ……...…………………………….………………………………….vii
Introduction and Literature Review………………………...……………………………………..1
Chapter
1. The Violin Concertos as a Virtuoso Genre in the Nineteenth Century………………10
2. Formal Structure of the First Concerto ……………………………………………...23
3. Formal Structure of the Second Concerto …...………………………………………53
4. Musical Content of Two Concertos …………………...……….……………………72
Motivic Relationship…………………………………………………………72
Harmonic Arrangement……………………………………………………...87
5. Technical Aspects……………………………………………………………………95
Bibliography……………………………………..……………………………………………..112
iv
List of Tables
Page
Table 1.1 Koch’s Description of the First Movement of a Solo Concerto

in the Musikalisches Lexikon of 1802………………………………..……………...17
Table 2.1 Wieniawski, Concerto No.1 for Violin and Orchestra in F-sharp minor, Op.14
First Movement: Allegro moderato………………………………………..………..24
Table 2.2 Section Lengths in Several Virtuoso Concerti based on Ritornello Form
with the Omission of the Third Ritornello……………………………………….….25
Table 2.3 Subtype E: Type V Adaptation of the Type II……….…………………………..….26
Second Movement: Preghiera; Larghetto………………………………….………..40
Third Movement: Rondo; Allegro giocoso………………………………...………..44
Table 2.6 Section Lengths in Rondos based on Two–Couplet Structure ……....…………...45–6
Table 3.1 Wieniawski, Concerto No.2 for Violin and Orchestra in D minor, Op.22
First Movement: Allegro moderato……………………………………………....…53
Table 3.2 Formal Structures of the First Movements of Ernst, Op.12, and
Wieniawski, Op.22……..…………………………………………………...……….55
Table 3.3 Sectional Organization of Vieuxtemps, Violin Concerto No.5 in A Minor, Op.37....55
Table 3.4 Concertos based on a Modified Ritornello Form…………………………………58–9
Second Movement: Romance; Andante non troppo……………………...…………64
Third Movement: Allegro con fuoco – Allegro moderato (à la Zingara)…..…...….67
Table 3.7 Formal Structures of Lipiński, Rondo Alla Polacca in E major, Op.7, and
Ernst, Polonaise, Op.17 ………………………………………..………………...…71
Table 4.1 Wieniawski, Concerto No.2, First Movement, mm.101–150 and 205–38
Three Closing Themes of the First Episode …………..……….……………..…..…81
Table 4.2 Motivic Arrangement according to Szymańska and Bae………………...………….82
v
Table 4.3 Motivic Arrangement in Joachim, Concerto in G minor, Op.3 (1851)…...………...85
Table 4.4 Wieniawski, Concerto No.1, First Movement: Allegro moderato

Themes and Harmonic Arrangement ……………………………………………….87

Themes and Harmonic Arrangement……………………………………...………...88
Table 4.6 Sections of de Bériot, Concerto No.4 in D minor, Op.46 (1844)…...………......…..88
Table 4.7 Harmonic Plans in Rondos: Rode, No.7 and Wieniawski, No.1……..................…..89
Table 4.8 Comparison of Two Finales: Joachim, Concerto No.2 and Wieniawski, No.2......…94
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List of Musical Examples
Page
Example 2.1 Wieniawski, Concerto No.1, Op.14

First Movement: Allegro moderato, mm.71–78……...…………………….…....35

First Movement: Allegro moderato, mm.287–97...………………………..…….36

First Movement: Allegro moderato, mm.74–76……..…………………..………36
Example 2.4 Vieuxtemps, Concerto No.3, Op.25, First Movement: Allegro, mm.88–95......... 37
Example 2.5 Vieuxtemps, Concerto No.3, Op. 25, First Movement: Allegro, mm.428–34...... 37
Example 2.6 Vieuxtemps, Concerto No.3, Op.25, First Movement: Allegro, mm.207–15........38
Example 2.10 Vieuxtemps, Concerto No.4 in D minor, Op.31

Second Movement: Adagio religioso, mm.1–6...…………...…………………...41
Example 2.11 Rode, Concerto No.7, Op.9, Second Movement: Adagio, mm.23–47....…….….42

Second Movement: Preghiera, Larghetto, mm.32–58…...……………………...43
Example 2.13 Ernst, Rondo Papageno, Op.20, mm.329–37…...…………..…………………...52

Third Movement: Rondo; Allegro giocoso, Finale, mm.251–58………...…..…..52
Example 3.1 Rode, Concerto No.8, Op.13, First Movement, mm.64–73……………..…….....57
Example 3.2 Kreutzer, Concerto No.18 in E minor, First Movement, mm.68–71 …….….......58

First Movement: Allegro moderato, mm.86–88….....…………………….……..59
Example 3.4 Wieniawski, Polonaise Brillante No.2, Op.21, mm.242–45…...….…....……….61
vii
First Movement: Allegro moderato, mm.222–24….………………….…………61

First Movement: Allegro moderato, mm.296–309….…………………………...63

Second Movement: Romance; Andante non troppo, mm.27–32 and 49–52….....66

First Movement: Allegro moderato, mm.1–9…....................................................72
Example 4.2 Kreutzer, Violin Concerto No.8 in D minor

First Movement: Maestoso non troppo, mm.1–8…...............................................73
Example 4.3 Kreutzer, Violin Concerto No.18 in E minor

First Movement: Moderato, mm.1–4….................................................................73
Example 4.4 Spohr, Violin Concerto No.1 in A major, Op.1

First Movement: Allegro vivace, mm.1–5….........................................................73
Example 4.5 Spohr, Violin Concerto No.11 in G major, Op.70

First Movement: Adagio, Allegro vivace, mm.19–31….......................................74
Example 4.6 Ernst, Concertino in D major, Op.12

First Movement: Allegro moderato, mm.1–3........................................................74
Example 4.7 Joachim, Violin Concerto No.1, Op.3, mm.30–33….............................................74

First Movement: Allegro moderato, mm.25–27….……………………………...75

First Movement: Allegro moderato, mm.37–42….…………………………...…75

First Movement: Allegro moderato, mm.67–80….…………………………...…76

First Movement: Allegro moderato, mm.73–76 and 80–82………….……….....76

First Movement: Allegro moderato, mm.221–26, 233–38, and 246……….…... 77

Third Movement: Rondo; Allegro giocoso, mm.13–6….....………….………….78
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Example 4.14 Viotti, Concerto No.12 in B-flat major, Third Movement: Allegretto, mm.1–4...78
Example 4.15 Kreutzer, Concerto No.10 in D minor,Third Movement: Rondeau, mm.60–65....78
Example 4.16 Lipiński, Concerto Militaire, Op.21

Third Movement: Rondo; Allegretto, mm.138–43…..………………………..…79
Example 4.17 Ernst, Polonaise, Op.17, mm.32–35….....……..………..……………………….79
Example 4.18 Lipiński, Polonaises No.3, Op.9, Allegro con brio, mm.129–30………..............79
Example 4.19 Lipiński, Polonaises No.3, Op.9, Allegro con brio, mm.113–15….….........…....79

Third Movement: Rondo; Allegro giocoso, mm.17–8….....………….……….....80

Third Movement: Rondo; Allegro giocoso, mm.79–84……………………….....80

First Movement: Allegro moderato, mm.1–77……...…………………….…..…80

First Movement: Allegro moderato, mm.11–16, Recurring Motif…....………....83

First Movement: Allegro moderato, mm.11–16, Counter Motif…….......……....83
Example 4.25 Joachim, Violin Concerto in D minor, Op.11

First Movement: Allegro un poco maestoso, mm.78–82, Secondary Motif…......84

First Movement: Allegro un poco maestoso, mm.187–95, Secondary Motif …...84
Example 4.27 Wieniawski, Concerto No.2, Op.22, First Movement: Allegro moderato
mm. 254–57, Recurring Motif Juxtaposed with the Theme………………….….85
Example 4.28 Wieniawski, Concerto No.2, Op.22,

Third Movement: Allegro con fuoco – Allegro moderato (à la Zingara),
mm.193–98, Rollicking Third Theme Combined with Recurring Motif…...…....86
Example 4.29 Joachim, Concerto No.2, Op.11, Third Movement

Finale alla Zingara, mm.282–89, Rollicking Theme.....……....…………...……86

Second Movement: Romance, mm.27–34, Middle Section…………………..…90
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Second Movement: Romance, mm.41–50, Neapolitan Chords……….…………91

First Movement: Allegro moderato, mm.183–86, Chromatic Progression.…......92

Second Movement: Preghiera; Larghetto, mm.22–24, Chromatic Contour…….92

Third Movement: Rondo, mm.139–42, Chromatic Contour…………...…….….92

First Movement: Allegro moderato, mm.169–70, Chromatic Contour….…........93

Third Movement: à la Zingara, mm.105–9, Chromatic Contour..…...……....….93

First Movement: Allegro moderato, mm.187–93, Ascending Scale…….…...….96

Third Movement: à la Zingara, mm.313–16, Ascending Scale........…...…….....96
Example 5.3 Paganini, Violin Concerto No.1, Op.6

First Movement: Allegro maestoso, mm.141–43, Ascending Scale……….....….96
Example 5.4 Mendelssohn, Violin Concerto in E minor, Op.64

Third Movement: Allegro molto vivace, mm.53–55, Scale………...……..…….97
Example 5.5 Bruch, Violin Concerto in G minor, Op.26

Third Movement: Finale; Allegro energico, mm.160–62, Scale…...………..…..97
Example 5.6 Tchaikovsky, Violin Concerto in D major, Op.35

Third Movement: Finale; Allegro vivacissimo, mm.140–45, Scale...…...............97
Example 5.7 Brahms, Violin Concerto in D major, Op.77, Third Movement:

Allegro giocoso, ma non troppo vivace – Poco più presto, mm.337–39, Scale....98

Third Movement, à la Zingara, mm.57–62, Ascending Chromatic Scale…...….98
Example 5.9 Joachim, Andantino und Allegro Scherzoso

Allegro scherzoso e vivace, p.8–9, Ascending Chromatic Scale……..……...…..98
x
First Movement: Allegro moderato, mm.40–42, Ascending Chromatic Scale…..98

Third Movement: Allegro vivacissimo, mm.239–43, Chromatic Passages….......99

First Movement: Allegro moderato, mm.117, Chromatic Descending Scale…....99
Example 5.13 Paganini, Concerto No.1, Op.6, First Movement: Allegro maestoso
mm.254–55, Chromatic Descending Scale……………...……………………….99
Example 5.14 Wieniawski, Concerto No.2, Op.22, First Movement

Allegro moderato, mm.207–9, Chromatic Descending Scale……...…………...100
Example 5.15 Joachim, Violin Concerto No.2, Op.11, First Movement: Allegro un poco
maestoso, mm.231–2 and 519–22, Chromatic Descending Scale…….…..……100
Example 5.16 Wieniawski, Concerto No.2, Op. 22, à la Zingara, mm.343–49

Chromatic Descending Scale ……………………………..……………………100
Example 5.17 Wieniawski, Concerto No.1, Op.14, First Movement

Allegro moderato, mm.84–85, Ascending Arpeggio………...…………….…...101
Example 5.18 Ernst, Violin Concerto Pathétique, Op.23

Allegro moderato, mm.235–36, Ascending Arpeggio…………...……………..101
Example 5.19 Saint-Saëns, Havanaise, Op.83

Allegretto e lusinghiero, mm.48–49, Ascending Arpeggio….…………………101

First Movement: Allegro moderato, mm.159–60, Triple Stops ………....….….102

First Movement: Allegro moderato, mm.201–3, Double Stops…......………….102

First Movement: Allegro Moderato, mm.120–3, Triple Stops…….......……….102
Example 5.23 Ernst, Polonaise, Op.17, mm.351–56, Triple Stops …...……………….…...…102

First Movement: Allegro moderato, mm.285–88, Double Stops in Octaves…...103

Allegro moderato, mm.440–42, Double Stops in Octave………...…...………..103
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Example 5.26 Sibelius, Violin Concerto in D minor, Op.47
Allegro moderato, mm.490–93, Double Stops in Octave………...……..……...103

First Movement: Allegro moderato, mm.234–38, Cadential Trill……...……....104

First Movement: Allegro maestoso, mm.195–98, Cadential Trill…...…...…….104

Third Movement: Rondo; Allegro spirituoso, mm.454–58, Cadential Trill…....104
Example 5.30 Vieuxtemps, Violin Concerto No.1 in E major, Op.10

First Movement: Allegro moderato, mm.241–44, Cadential Trill……..…….…105

First Movement: Allegro marziale, mm.349–54, Cadential Trill……...……….105
Example 5.32 Beethoven, Violin Concerto in D major, Op.61, Allegro, ma non troppo
mm.416–21 and 487–90, Trills with the Theme …….................…………..…..105
Example 5.33 Joachim, Violin Concerto No.2, Op.11, Allegro un poco maestoso
mm.308–11, Trills with the Theme…………….............….…........………..…..106
Example 5.34 Wieniawski, Concerto No.2, Op.22, à la Zingara

mm.278–84, Trills with the Refrain………….........…….………………...…....106
Example 5.35 Wieniawski, Polonaise de Concert, Op.4

Allegro maestoso, mm.9–11, Leaps………..………………..………….………107

First Movement: Allegro moderato, m.154, Leaps……....……….………….…107

Third Movement: Rondo; Allegro spirituoso, mm.462–64, Leaps..………...….107
Example 5.38 Ernst, Rondo Papageno, Op.20, Allegretto, mm.138–40 and 203–4, Leaps…...107

First Movement: Allegro moderato, mm.119–26, Staccatos….......................…108

First Movement: Allegro moderato, mm.219–21, Staccatos….....…..................108
Example 5.41 De Bériot, Violin Concerto No.2, Op.32

Allegro maestoso, mm.95–97, Staccatos………………...……………………..109
xii
First Movement: Moderato, mm.170–2, Staccatos ……...……………………..109

Allegro moderato maestoso, mm.89–91, Staccatos……………...……………..109

Third Movement: Rondo; Allegro spirituoso, mm.158–62, Staccatos…............109
Example 5.45 Vieuxtemps, Violin Concerto No.1, Op.10

First Movement: Allegro moderato, mm.221–22, Staccatos ……...…...………110

First Movement: Allegro moderato, mm.175–76, Whipped Bow……….......…110

First Movement: Allegro, molto appassionato, mm.43–7, Whipped Bow...…...110

First Movement: Allegro moderato, mm.224–26, Accents on Up-Bow…...…...111
Example 5.49 Joachim, Concerto No.2 in D minor, Op.11, Third Movement

Finale alla zingara, mm.645–47, Accents on Up-Bow........………...……...….111
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Introduction and Literature Review
Concertos, especially those for piano or violin, have become a genre that concert hall
audiences crave for their dazzling solo performance in addition to the grandeur of a symphonic
piece. Almost every performing violinist has in their repertoire the technically demanding
concertos written by violin virtuosi such as Paganini, Vieuxtemps, and Wieniawski. Among the
nineteenth century violin concertos appealing to performers seeking to “redefine the boundaries
of virtuosity,” 1 there are two distinctive concertos for solo violin and orchestra written in 1853
and 1862, respectively, by Henryk Wieniawski considered “one of most brilliant violinists of the
post-Paganini generation.” 2
Henryk Wieniawski was born in Lublin, Poland, on 10 July 1835. His mother was a
professionally trained pianist; her brother, Edward Wolff, was a distinguished pianist and
composer. At age 8, Wieniawski played a brilliant audition for the Paris Conservatoire and was
accepted into the class of Professor Joseph Lambert Massart, a private pupil of Rodolphe
Kreutzer. The prodigy was awarded first prize in the violin in 1846 at the Conservatoire. After
giving numerous recitals with his younger brother Józef Wieniawski accompanying him on the
piano, he re-entered Paris Conservatoire to study composition in 1849.
Following his studies, Wieniawski embarked on a career as a touring virtuoso, giving
several hundreds of concerts in Russia, Germany, Austria, Holland, Belgium and France. During
his tours, he met the Belgian violin virtuoso and composer Henri Vieuxtemps (1820–1881); and
his fellow Polish violin virtuoso Karol Józef Lipiński (1790–1861). Considered “a violinist of
1
Denis Arnold and Timothy Rhys Jones, "Concerto." The Oxford Companion to Music. Oxford Music
Online, Oxford University Press, accessed October 12, 2014,
http://www.oxfordmusiconline.com.proxy.libraries.uc.edu/subscriber/article/opr/t114/e1550
2
Otakar Ševčík, H. Wieniawski Violin Concerto in D minor: Complete Piano and Violin Score; Analytical
Studies and Exercises, ed. Endre Granat (Maryland Heights, MO: Lauren Keiser Music Publishing, 2011), 1.
1
genius, an artist of great individuality, intensity of expression and original technique,” 3
Wieniawski also composed several works, exclusively for violin and piano or violin and
orchestra. Compositional forms that Wieniawski favored in his works include variations,
fantasies, and capriccios; larger forms such as concertos; and smaller lyrical forms such as
elegies, reveries, and miniatures. 4 Among 24 compositions published with opus numbers, the
concertos are notable for their place in the violin repertoire. While the first, Violin Concerto in
F-sharp minor, Op.14, “emphasized on technical difficulty and virtuoso effects,” 5 it is not
performed particularly often. However, the second concerto dedicated to Pablo de Sarasate is
one of the most essential works in the violin repertoire. The stylistic changes between the first
and second concertos are dramatic, reflecting the approximate ten years between their
compositions. Andrew Clements notes that, “The second concerto, with its rich melodies and
highly idiomatic violin writing, has worn the better; the first [concerto] promotes brilliance at the
expense of formal cohesion, but the later work balances the elements of the style more equably. 6
Wieniawski composed the first concerto at age 17. His familiarity with works by
composers such as Paganini, Henri Vieuxtemps, and Heinrich W. Ernst is evident in this work. 7
Yet while the writing style of the solo part closely resembles that of the aforementioned
composers, the formal structure of the three movements can be interpreted in many different
ways. The musical narrative unfolds with highly embellished, demanding violin technique
within a nonetheless conservative manner and structure. The basic framework appears to
3
Maria Pilatowicz, “Polish Composers,” Polish Music Center. accessed October 13, 2014,
http://www.usc.edu/dept/polish_music
4
Edmund Grabkowski, Henryk Wieniawski (Warsaw: Interpress, 1986), 133
5
Maria Pilatowicz, “Polish Composers,” Polish Music Center, accessed October 13, 2014,
http://www.usc.edu/dept/polish_music.
6
Andrew Clements, “The Violin Concerto.” In The Book of the Violin, edited by Dominic Gill (New York,
NY: Rizzoli International, 1984), 171.
7
Alicja Szymańska, “The Issue of the Sonata Form in the Concertos of Henryk Wieniawski.” In Henryk
Wieniawski: Composer and Virtuoso in the Musical Culture of the 19th and 20th Centuries, edited by Maciej
Jabłoński and Danuta Jasińska. Translated by Urszula Klingenberg, (Poznan: Rhytmos, 2001), 86.
2
embrace what had been developed as a virtuosic concerto genre by established violinist–
composers such as Viotti, Kreutzer, Rode, Paganini, de Bériot and Vieuxtemps.
The second concerto, written in the relatively stable period during Wieniawski’s
residence in St. Petersburg (1860–1872), features more “Romantic lyricism and passionate
melodic expression.” 8 With a less demanding solo part, the concerto presents an attractive
romantic feeling; Franz Farga notes the work’s “wonderful freshness and perfect structure.” 9
However, within a more challenging structural plan, this work achieves a higher level of
cohesiveness. Moreover, the manipulation of thematic content within a freer structural plan can
be observed in each movement.
This reflects important changes in the formal structures expected of the virtuosic concerto.
Wieniawski’s second concerto redefines virtuosity not only by eschewing mere technical display
but also by adopting the most updated characteristics of the genre. Contemporary composers had
broken from the traditional ritornello format and relied instead on a modified sonata-allegro form
for the first movement. Of note is Mendelssohn’s Violin Concerto in E minor, Op.64 whose
innovative form omits the orchestral introduction, links the movements into a continuous whole,
and features a short but effective cadenza smoothly connecting to the orchestral restatement of
the first theme. Likewise, Wieniawski carefully links the movements through such techniques as
a leading-note suspension and delayed cadenza.
The main focus of this document is an examination of how Wieniawski expresses his
virtuosic ambitions through these quite different concertos, demonstrating how his evolving
compositional style affects the final arrangement of two concertos. Alicja Szymańska notes that
8
Maria Pilatowicz, “Polish Composers,” Polish Music Center, accessed September 11, 2014,
http://www.usc.edu/dept/polish_music.
9
Franz Farga, Violins and Violinists. 2nd ed. Translated by Egon Larsen and Bruno Raikin. (London:
Barrie & Rockliff, The Cresset Press, 1969), 206–7.
3
the two concertos have been given very little attention in musicological literature; 10 therefore,
my approach to the works will involve two perspectives, each illuminating aspects of
Wieniawski’s compositional style and aims. First, concepts of musical structure provide the
essential guide to interpreting the styles of Wieniawski’s concertos. Second, this document
looks to the concertos of earlier and contemporary composers to trace the evolution of the genre
itself. Wieniawski exhibits a creative power of formal arrangement founded on the tradition and
development of the Romantic virtuosic concerto; understanding the evolution of the genre thus
traces why Wieniawski treats the concerto as he does.
The Literature Review following this Introduction is devoted to current issues raised in
the available literature on musical structure, providing theoretical basis for the analyses in later
chapters. These include formal concepts from Hepokoski and Darcy’s Elements of Sonata
Theory, 11 which sheds new light on the construction of orchestral works in the Romantic era;
Charles-David Lehrer’s The Parisian Concerto During the Age of Louis Napoleon: 1848–
1870; 12 and Alicja Szymańska’s The Issue of the Sonata Form in the Concertos of Henryk
Wieniawski. 13
Chapter One examines the repertoire inherited by Wieniawski, surveying violin concertos
written by influential composers such as Viotti (works written between 1780 and 1818), 14
10
11
James A. Hepokoski and Warren Darcy, Elements of Sonata Theory: Norms, Types, and Deformations in
the Late Eighteenth-Century Sonata (New York: Oxford University Press, 2006).
12
Charles-David Lehrer, “The Nineteenth-Century Parisian Concerto” (Ph.D. diss., University of California,
1990), 445–51.
13
Jabłoński and Danuta Jasińska. Translated by Urszula Klingenberg, (Poznan: Rhytmos, 2001), 83–101.
14
E. Chappell White, “Giovani Baptista Viotti and His Violin Concertos” (Ph.D. diss., Princeton
University, 1957), 88.
4
Kreutzer (between 1783 and 1810), 15 Rode (between ca.1794 and 1806), de Bériot (1837 and
1869), 16 and Vieuxtemps (1836 and 1861); and the virtuosi Paganini (the first and second violin
concertos of 1817 and 1826), Lipiński, Ernst, and Joachim.
Chapters Two and Three discuss and demonstrate the form of Wieniawski’s respective
concertos in detail. Comprehensive formal tables for each movement are provided; these include
concise structural descriptions suggested by Lehrer and Szymańska alongside my consolidated
designation of the sections comparing with other influential concerti of the time. Chapter Four
builds on these analyses by investigating the concertos’ motivic unity and Wieniawski’s
manipulation of the thematic content. The harmonic arrangements of the solo and orchestra parts
are outlined in several charts as well. Chapter Five then explores various technical aspects of
solo violin writing, both through Wieniawski’s concertos and in many other famous concerti of
the Romantic era. The chapter compares specific virtuosic techniques employed in solo writing
to discern the musical consequences of idiomatic violin writing
Current Issues Regarding the Structure of Wieniawski’s Concertos
This document relies heavily on the fairly recent, very comprehensive Sonata Theory
developed by James Hepokoski and Warren Darcy. Two chapters of Elements of Sonata Theory,
The Type 2 Sonata and The Type 5 Sonata, provide important formal concepts in the perspective
of a sonata movement. This book presents and demonstrates formal concepts and specific
terminology including rotation, display episode, tonal resolution and P-based coda. Several of
the formal models presented are used here to describe Wieniawski’s concertos. This research is
particularly indebted to the concept of rotation or rotational regarded as “circularity or cycling
15
Michael Day Williams, “The Violin Concertos of Rodolphe Kreutzer” (Ph.D. diss., Indiana University,
1972), 88, 104.
16
Nicole De Carteret Hammill, “The Ten Violin Concertos of Charles-Auguste de Bériot: A Pedagogical
Study” (diss., Louisiana State University and Agricultural ad Mechanical College, 1994), 1–131.
5
of a referential thematic pattern.” 17 A double-rotational structure categorized as the Type 2
sonata seems to best fit the design of the first concerto. Two contrasting thematic presentations
in Wieniawski’s first concerto are restated after the first fulfilled cadence at m.193 (EEC); in the
restatement, the primary thematic reference is omitted, and therefore begins in the developmental
space. This is equivalent to a variant of binary form; Subtype E of the Type 5 sonata.
Considering a developmental space as the beginning of the second rotation in a Type 2 sonata,
the solo cadenza is characterized by frequent modulations of the primary theme, and proceeds
directly on to the secondary theme. The term P-based coda likewise convincingly characterizes
an important component of the concerto’s form, in this case five identical measures that are
interpolated into the ending of the first movement. A condensed return of the very daring solo is
inserted at m.290, serving as a “completion-effect.” 18
Three additional authors provide further theoretical grounding for the analyses in later
chapters. An article by Anna Nowak, “The Violin Concerti of Henryk Wieniawski from Style
Brillant to the Romantic Idiom,” suggests a concept encompassing distinctive components
including “tradition, ideas, and values that moulded the concerti.” 19 It also emphasizes the
characteristics of solo and orchestra writing. Based on the conceptualized comparison that
Nowak makes, this document demonstrates how the orchestra and solo function in developing
the main motif and harmonic structure. Wieniawski’s second violin concerto shows the
evolution of handling sections of the tutti and solo, modification of traditional formal plan, more
romantic style towards the individual, subjective, and deeply emotional musical language. 20
17
the Late Eighteenth-Century Sonata (New York: Oxford University Press, 2006), 611.
18
Ibid., 384.
19
Anna Nowak, “The Violin Concerti of Henryk Wieniawski from Style Brillant to the Romantic Idiom.”
In Henryk Wieniawski: Composer and Virtuoso in the Musical Culture of the 19th and 20th Centuries, edited by
Maciej Jabłoński and Danuta Jasińska. Translated by Piotr T. Żebrowski, (Poznan: Rhytmos, 2001), 103.
20
Ibid., 110–14.
6
Although Nowak’s article provides succinct stylistic considerations in terms of reviewing
structural design, it does not go so far as to characterize Wieniawski’s concertos as either
ritornello or sonata. This document investigates several possible views towards interpreting the
structural plans.
Charles-David Lehrer’s dissertation, “The Nineteenth-Century Parisian Concerto,”
classifies 90 concertos into seven analytical models. His reviews encompass works by
composers discussed in Chapter 1 of this document: Viotti, Kreutzer, Rode, de Bériot, and
Vieuxtemps. Wieniawski’s concertos are categorized as Classical Style: Type I and French
Romantic Style. 21
The first movement [of the first concerto] has at least one feature in common with several
of Vieuxtemps’ concerti in that the recapitulation (Episode III) omits the first theme and
proceeds directly to the second. […] An unusual aspect of Concerto No.1 is found in the
contents of its development section (Episode II) which consists solely of a cadenza in
which the first theme is worked out. 22
The resulting structure is Ritornello I – Episode I – Ritornello II – Episode II (Cadenza) 
Episode III (Second theme) – Final Ritornello. Even with altered sections, the underlying
structural formula in this movement appears to be more classical. With the exception of
relocating the cadenza in the middle, this structure is intriguingly close to the Subtype E of the
Type 5 adaptation of the Type 2 (“binary”) sonata described in Elements of Sonata Theory. 23
Further on, Lehrer’s discussion of the Rondo movement, which he finds to be ternary, raises the
question of respecting the appearance of a rondo-like refrain and an extensive coda ending.
Lehrer classifies the first movement of the second concerto as French Romantic Style.
He describes the consequences of truncation as Ritornello I – Episode I – Ritornello II, in that the
21
1990), 21, 39–41, 56.
22
Ibid., 443.
23
7
second ritornello “further develops the first and second theme before closing and being bound to
the second movement.” 24 The second movement is considered binary form; 25 however, as the
current document puts more emphasis on the return of the first theme presented in the orchestra
embellished by solo descant, it makes more sense to classify the second movement as rounded
binary. Although the final movement à la Zingara appears to have a more complex structural
plan involving aspects of sonata and rondo, Lehrer considers it a normal sonata form in which
“the recapitulation of Themes 1 and 2 occurs in reverse order, and the coda operates like a
second development.” 26
Alicja Szymańska explores the two concerti from the viewpoint of sonata theory while
reviewing Lehrer’s dissertation in “The Issue of the Sonata Form in the Concertos of Henryk
Wieniawski.” 27 Szymańska provides a valuable and detailed discussion of the concertos
including historical background and formal tables of the first movements from both concertos
and the finale of the second concerto. Consideration is given to thematic material involvement, a
review of Lehrer’s standpoint, and various interpretations of considering the characteristic
structure. The article also traces back to the traditions of the Franco-Belgian school especially
focusing on Viotti.
Because the nature of Wieniawski’s compositions does not strictly follow a confined
design, an overall discussion of the article apparently leaves the debate open. The illustrated
formal table of the first movement shows that the second ritornello and episode belong to the
development section, although Szymańska stresses “the absence of a typical development in the
24
1990), 450.
25
Ibid., 450
26
Ibid., 451
27
8
second solo episode.” 28 Regarding the debate over the existence of the recapitulation in the first
movement of the first concerto Szymańska is inclined to believe the recapitulation is complete,
according to sonata requirements. Another controversial question is the shape of the middle solo
section of the second concerto’s first movement. When Lehrer classifies the section as an
exposition, Szymańska again insists on the completeness of the sonata cycle according to the
characteristic of two thematic references intermingled in each of the three parts: “Orchestra
exposition – Exposition and development of the first and second themes – recapitulation.” 29
The formal and theoretical considerations addressed in the above literature are applied to
the studies of Chapters 2, 3, and 4; before proceeding to the formal analyses of Wieniawski’s
concertos, this document now surveys the historical background of the genre which the composer
inherited and continued to develop.
28
29
Ibid., 91.
9
Chapter 1
The Violin Concertos as a Virtuoso Genre in the Nineteenth Century
Prior to investigating Wieniawski’s two major compositions, this chapter surveys
virtuoso concertos of the nineteenth century, tracing how the genre was established and
developed generation to generation. Concertos for violin and orchestra in the early nineteenth
century evolved to reflect new demands and possibilities. In his summary of concertos in the
Classical period, Cliff Eisen states that “concertos were given in more restrictive settings, often
as part of a court entertainment, or privately, at domestic concerts.” 1 A concerto in the early
nineteenth century was performed with a bigger orchestra in a larger concert hall, and audiences
looked for more dramatic displays and individual expression by concertantes; violinist-
composers obliged by embarking on extensive concert tours highlighting their mastery. The
development of the violin and its technique in several national schools also enabled violinist-
composers to create more skillfully advanced compositions, as innovations expanded
performers’ capacity for structural articulation.
Composers associated with the French school—especially Viotti, Kreutzer, and Rode—
played a central role in establishing the new idioms of violin concerto as a virtuosic genre while
conserving the form of ritornello (and allegro) sonata. Meanwhile, Niccolò Paganini, the most
renowned violin virtuoso of his time, devoted his imagination to achieving sensational technique
even as he introduced increasingly complicated concerto structures by contemporary composers.
His example stimulated successors including de Bériot, Vieuxtemps, Lipiński, Ernst, and
Joachim to improve technically demanding elements, as well as to produce various types of
concerto structure.
1
Cliff Eisen and Leon Botstein. “Concerto.” In Grove Music Online. Oxford Music Online. Oxford
University Press, accessed January 10, 2014
http://www.oxfordmusiconline.com.proxy.libraries.uc.edu/subscriber/article/grove/music/40737.
10
One of the most influential figures in the development of the romantic violin concerto
Giovanni Battista Viotti (1755–1824), wrote 29 violin concertos based on ritornello form; this
usually consisted of four ritornelli and three solo episodes. His concertos are characterized by
revolutionary, brilliant solo writing, combining all the practicable arrangements of sixteenth
notes resulting in various types of bowing stroke with great efficiency and left hand dexterity.
Moreover, he is credited with the organization of the distinguishable thematic content, described
in the Allgemeine musikalische Zeitung in July 1811:
A large, strong, full tone is the first; the combination of this with a powerful, penetrating,
singing legato is the second; as the third, variety, charm, shadow and light must be
brought into play through the greatest diversity of bowing. 2
Changes in the formal structure and treatment of themes are apparent throughout Viotti’s
concertos. The first movement of No.13 in A major presents two clear contrasting themes, with
the secondary thematic material from the exposition restated in the development and stretched to
Episode III in a minor key, subsequent to the shortened Ritornello III. The first movement of
No.15 in B-flat major omits Ritornello III and moves directly into the recapitulatory Episode III.
Concerto No.17 is an archetypal ritornello form. 3 Later concertos including Nos.19, 20, 22, 24,
25, and 28 are notable for following No.15 in omitting the third ritornello. Viotti’s Concerto
No.22 in A minor (1792) is one of the most popular of these. Ewen notes that:
This is a work remarkable both for its lyrical content and its freshness of thematic
development. Written in the late eighteenth century, it is advanced for its time in its
development of the classical sonata structure and in its orchestral and harmonic language.
Some critics refer to it as one of the first “modern” violin concertos. 4
2
E. Chappell White, "Viotti, Giovanni Battista." Grove Music Online. Oxford Music Online. Oxford
University Press, accessed January 20, 2015,
http://www.oxfordmusiconline.com/subscriber/article/grove/music/29483.
3
Giovanni Battista Viotti, Concerto No.17 in Re Minore Per Violino e Orchestra D'archi [Violin Concerto
No.17 in D minor for Violin and String orchestra]. (Firenze: Musicali Otos, 1977), 1st mov., meas.1–376.
4
David Ewen, Great Composers 1300–1900: A Biographical and Critical Guide (New York: H. W.
Wilson Company, 1966), 399.
11
The virtuosity of the soloist is highlighted by the shortening of the second or third ritornello in
later concerti. In Concerto No.23 in G major, the six-bar-long Ritornello III functions as a
dominant lock to the restatement of the first theme. Concerto No.29 in E minor has contrasting
thematic materials in turns in Ritornello I; 5 new materials introduced in the developmental
sections links the restatement of the primary themes. Clearly, over the course of the concertos,
Viotti gradually reconsiders structural components to best serve both the performer and musical
interest.
When White reviews the slow movements of Viotti’s concerti, his categorization based
on chronological order of composition into several types relates to the concepts of cavatina and
romance. Compare to Viotti’s early concerti Nos.4 through 11, which all have simple phrases
and a song-like quality in the da capo form, the later concerti, especially from the London period,
are distinguished by the developmental style of the romance as the solo becomes more lyrical in
its narration, with a longer and more sustained sound especially in the middle contrasting
section. 6 Furthermore, the connections between movements in the later works are abundant.
The adagio of Viotti’s Concerto No.20 in D major directly connects to the third movement
through a cadenza-like atmosphere. A significant key relationship between the first and second
movements in both Concertos Nos.28 and 29 is set to a major submediant. The middle sections
in both concertos are highlighted by Neapolitan harmonic relationship to the dominant; D-flat
major chord 7 to the dominant of F major in No.28, and A-flat major chord 8 to the dominant of C
5
Giovanni Battista Viotti, Concerto No.29 in E minor for Violin and Piano, ed. Leopold Auer (New York,
NY: Carl Fischer, 1929), 1st mov., meas.1–21.
6
E. Chappell White, “Giovani Baptista Viotti and His Violin Concertos.” (Ph.D. diss., Princeton
University, 1957), 97–8.
7
Giovanni Battista Viotti, Violin Konzert Nr.28 in A Moll Fur Violine Und Klavier [Violin Concerto No.28
in A minor for Violin and Piano], ed. Friedrich Hermann (Leipzig: C. F. Peters, 1884), 2nd mov., meas.44, 46, 48.
8
Giovanni Battista Viotti, Concerto No.29 in E minor for Violin and Piano, ed. Leopold Auer (New York:
Carl Fischer, 1929), 2nd mov., meas.46.
12
major in No.29. The significance of Neapolitan harmony in these concertos is expanded on in
Chapter 5 as seen in Wieniawski’s concertos.
Best known for his 42 Etudes (1796) and as the dedicatee of Beethoven’s Violin Sonata
No.9 in A minor, Op.47 (1803), Rodolphe Kreutzer (1766–1831) was a violin professor at the
Conservatoire de Paris from its foundation in 1795 until 1826. He was considered one of the
founding trinity of the French school of violin playing, with Pierre Rode and Pierre Baillot. His
pupils spread his techniques, including Joseph Massart, who taught Wieniawski. 9
Kreutzer composed 19 violin concertos, notable for their idiomatic violin writing and
wide range of expression. Michael Day Williams states that “the basic form of each concerto
follows closely the pattern established by Leclair, Viotti and Rode combining the Italian flair for
melody and the French ornamental style.” 10 Williams divides the basic structure of the first
movements of Kreutzer’s violin concertos into two types: in seven parts, and in five parts
replacing the third tutti section with a cadenza. 11 This is significant as many violin concertos
composed by other influential virtuosos also follow a five-part first movement structure, as
outlined in Elements of Sonata Theory; the ‘Type V’ adaptation of the ‘Type II’ (“binary”)
sonata, or “concerto form,” omits the third ritornello and directly merges into the third episode
with tonal resolution. 12 Williams attends to the use of themes in concertos of Kreutzer (Nos.1–5,
10 and 18); only the B theme is used in the third solo section, the recapitulation, in later
concertos (Nos.9, 11, 13, 14, 16, and 19). 13 Elements of Sonata Theory pinpoints this third
episode area as “parallel to the second half of the first episode in Subtype E among six subtypes
9
Joseph Wechsberg, The Glory of the Violin (New York: Viking Press, 1973), 296.
10
1972), 108.
11
Ibid., 113–22.
12
13
1972), 120.
13
of the eighteenth-century Type V sonata.” 14 Lehrer reports on related aspects of Kreutzer’s
Violin Concerto No.13 in D major, Lettre A (1803):
Ritornello II missing as a common feature of other Parisian concerto in the nineteenth

century. Episode II, is not a ‘development section’ as in Beethoven’s contemporary
concertos. It does, though, end with a fermata 15 indicating that the soloist is to perform a
cadenza. Such a cadenza could have been devoted to the development of thematic
material presented in Episode I. Rode’s concertos have this same characteristic. Episode
III, a semi-recapitulation, begins with the middle subject, Theme 3 [a soft lyrical theme in
the key original key, D major rather than V as in the first episode]. 16
Kreutzer sometimes promotes sectional articulation through mode change. Episode II of
the Violin Concerto No.17 in G major is minore (mm.85–108) in the secondary thematic
sequences; Episode III, marked maggiore (mm.109–130) replicates the original theme in the
tonic key. 17 Kreutzer’s last two concertos, Nos.18 and 19, are more experimental and complex
in terms of manipulating thematic materials. In No.18 alternating layers of two contrasting
themes in this concerto are introduced in the first ritornello, while the first episode unexpectedly
begins with the second dolce lyrical theme. Kreutzer achieves remarkable diversity of structure
in No.19, where the harmonic arrangement of both themes is transforming through relative key
areas as well. As with Nos.8 and 10, the tonal resolution comes with the restatement of the
second theme.
Also notable in these final two concertos is the large sections of written-out cadenzas in
the slow movements. As Williams notes, “the second movements of Concertos Nos.1 through 6
and 9[…] are in a lyric style, with few opportunities for display of technique. The basic form of
these movement is A B A’, with the B section often only a slightly changed version of the A
14
the Late Eighteenth-Century Sonata (New York: Oxford University Press, 2006), 436–42.
15
Rodolphe Kreutzer, Concerto No.13 in D major for Violin and Piano, ed. Friedrich Hermann, A Kalmus
classic edition (Miami: FL: Kalmus, 2000), 1st mov., meas.170.
16
1990), 151–52.
17
Rodolphe Kreutzer, Concerto No.17 in G major for Violin and Orchestra, ed. Stephen Begley (Dietikon:
Bisel Classics, 2010), 1st mov., meas.50–71, 85–108, 109–130.
14
theme. 18 In Kreutzer’s later slow movements however, marked Adagio, Adagio sostenuto, and
Andante sostenuto, 19 the soloist conveys emotional inspiration through a wider dynamic range
within flexible tempo changes. This is the source of the lyric ‘Romance’ with cadenza-like
passages, notably in Joachim’s second concerto, Op.11, Romanze; Andante (1857).
Of Kreutzer’s final movements, Williams says: “The character of this movement is light
and dance-like, with simple themes and reiterated rhythmic patterns. The style would be suitable
not only for a concerto, but also for the last movement of a symphony, since the virtuoso element
plays such a small role.” 20 The exchange of mode applied to the first movement carries to the
reprise section in the last movement as well: “Nearly every finale has a C section in a contrasting
tonality and mode—normally labeled Minore or Maggiore in the score.” 21 These features and
structures reappear throughout Wieniawski’s concertos.
Best known for his 24 caprices designed to instruct advanced students, Pierre Rode
(1774–1830) was another influential violinist and composer of the French violin school; he
studied under Viotti from 1787 to 1789. 22 Lehrer introduces Rode’s Concerto Nos.6, 7, and 11:
It seems certain that Rode took over the three-movement form for the concerto as he
knew it from the compositions of Giovanni Battista Viotti. Only the first movements of
the three Rode concertos which I analyzed show significant deviation from Viotti’s plan;
but these differences are not radical in any way. 23
Rode’s concertos Nos.6, 7, 10, and 11 contain several features relevant to evolutionary elements
in Wieniawski’s two concertos. The orchestra and solo parts in Rode’s concertos in general have
their own thematic identity, especially in No.6. The final Rondo movements in Nos.6, 7, and 11
18
1972), 122.
19
Ibid., 123.
20
Ibid., 127.
21
Ibid., 126.
22
David Ewen, Great Composers, 1300–1900: A Biographical and Critical Guide (New York: H. W.
Wilson Co, 1966), 315.
23
1990), 131.
15
have a two-couplets structure cast within a larger ternary form, replacing Refrain III with the
coda. The placement of a cadenza at the end of Episode II in No.10 in particular calls attention
to Viotti’s approach, while No.11 expands on the virtuosic style with hectic key changes.
Although the French violin school dominated the early development of the virtuoso
concerto, an offshoot, the Franco-Belgian school, also influenced many prominent composers
and virtuosi. Best known for his ninth violin concerto in A minor, op.104, Charles Auguste de
Bériot (1802–1870) is considered the ‘Father of the Belgian school,’ his innovative
compositional style apparently expanded from the French school of Baillot, Kreutzer and Rode at
the Paris Conservatoire. Among more than a hundred opus-numbered works, de Bériot’s ten
concertos are notable for furthering the design of more cohesive and advanced virtuosic style.
According to Hammill,
[de Bériot’s] most direct influence can be seen in the playing and compositions of his
most important pupil, Henri Vieuxtemps, who studied with Bériot as a child. More
indirectly, Bériot’s influence is evident upon other virtuosos of the century, such as
Henryk Wieniawski, Heinrich Ernst, and indeed most composers for the violin in the
nineteenth century. 24
Although Hammill suggests that de Bériot’s ten violin concertos “follow the typical format of the
concerto, including extended orchestra introductions and a number of orchestral interludes, the
latter occurring at important structural points,” 25 Nos.5, 6, 7, 9, and 10, which consist of three
movements, stand out from other Romantic violin concertos in that they are played without any
breaks.
Nos.2, 3, and 4 draw attention to formal structure. In these concertos, the third episodes,
unveiling the melodic second themes in the major tonic keys, are directly attached to the second
developmental episode, ending with short cadenza-like ad libitum passages. This recalls an 1802
24
Study” (diss., Louisiana State University and Agricultural ad Mechanical College, 1994), 3.
25
Ibid., 6.
16
description of the first movement of a solo concerto in the Musikalisches Lexikon, as quoted in
Stevens (see Table 1.1):
The second solo begins with the final note of this [second] ritornello, and has the freedom
to move to whichever ones of the remaining related keys it wishes; the last half of it will
nevertheless be brought back into the principal key. In which the principal melodic parts
of the whole movement are briefly repeated. After its final cadence the accompanying
instruments make another short ritornello in the tonic. 26
Table 1.1 Koch’s Description of the First Movement of a Solo Concerto

in the Musikalisches Lexikon of 1802
R1 S1 R2 S2 R3
I V V I
Repetition of
“principal melodic parts of
the whole movement”
When Lehrer categorizes de Bériot’s Violin Concerto No.2 in B minor (1835), No.3 in E minor
(c.1843), and No.8 in D major (c.1856) into the Classical Style Type I, corresponding
characteristics of the first movement’s structure from Koch’s description are noted:
A comparison of de Bériot’s first movements in Classical Style Type I with Czerny’s

structure, reveals that Ritornello III is not present in any of the three works [Nos.2, 3, and
8] composed by de Bériot’s in this style. In addition, Episode III is initiated with Theme
2 (middle subject) rather than Theme 1, a trait inherited from Rode’s concertos. It would
seem likely that de Bériot proceeded in this manner because he wished to recapitulate
within the tonic-oriented Episode III, only materials which were originally placed in the
dominant section of Episode I. 27
Nos.4 and 5 move beyond the “Classical Style in a Single Movement.” According to Lehrer:
Concerto Nos.4 and 5 are perhaps even more fascinating than Concerto No.1, since each
contains the interpolation of a slow movement into Episode II. In Concerto No.4 this is
26
Jane R. Stevens, “Theme, Harmony, and Texture in Classic-Romantic Descriptions of Concerto First-
Movement Form,” Journal of the American Musicological Society 27, No.1 (Spring 1974): 25–60, accessed April 9,
2015, http://www.jstor.org/stable/830514.
27
1990), 302.
17
handled quite smoothly, since the same meter is maintained. Concerto No.5 (c.1846) is
quite a different story, since the entire new meter [6/8 pastoral Adagio, Episode II as the
second movement] causes a major disruption in the flow of the structure. 28
The French Romantic Style of Nos.6, 7, 9, and 10 in turn show further structural developments.
“The first movement of each concerto [Nos.6, 7, 9, and 10] is truncated after Ritornello II,
thereby removing Ritornelli III and IV and Episode II and III (development and recapitulation).
In essence, the second movement stands in place of Episode II and the final movement replaces
Episode III, fulfilling at least the tonality requirement of recapitulation.” 29
De Bériot’s most popular concerto No.9, in A minor, Op.104 gives a definite impression
of a single through-composed concerto consisting of three linked movements, in which the last
rondo presents the recurrence of the middle waltz section in the submediant. 30 The concerto
recycles materials from the first movement; Lehrer marks the section as “Recapitulation of three
closing theme (2k1, 2k2, and 2k3) at m.138–167.” 31
De Bériot’s most celebrated disciple was another virtuoso, Henri Vieuxtemps (1820–
1881). Vieuxtemps composed seven violin concertos (No.8 in A minor remaining unfinished) 32
in the style of Paganini, combining technical brilliance with beautiful singing melodies. These
concertos show considerable experimentation with ingenious forms. According to Lehrer:
No.1 in E major, Op.10 (1840) and No.3 in A major, Op.25 (1844) as in the Classical
Style Type I in three movements, No.2 in F sharp minor, Op.19 (1836) in the French
Romantic Style, No.4 in D minor, Op.31 (c.1850) in the Scena Style Type II and No.5 in
A minor, Op.37 (1858–59) in the Classical Style Type II in one movement. 33
28
1990), 318–19, 325–26.
29
Ibid., 328.
30
Charles-Auguste de Bériot, Concerto No.9 in A minor, Op.104 for Violin and Orchestra: Piano
Reduction, Urtext. (Bendern, Liechtenstein: Dowani International, 2003), meas.90–118, 333–61.
31
1990), 335–36.
32
Joseph Wechsberg, The Glory of the Violin (New York: Viking Press, 1973), 248.
33
1990), 395–440.
18
Each Vieuxtemps concerto is distinguished by a formal innovation. Concerto No.1 is special for
escaping from the traditional concerto platform and giving the soloist greater liberty to show off
with virtuosic intensity. In No.2, the truncated ritornello 34 is strikingly based on two tonal pillars
rather than a single tonic. The developmental second episode of No.3 is established in a distant
key, C minor (biii), while concluding with a succinct thematic summary through tonal resolution
imitating and inserting the beginning and the ending of the first episode. No.4 in D minor, Op.31,
“attempts a larger utterance by adding a scherzo third movement to a declamatory first
movement, slow movement and finale.” 35 Furthermore, an overall concept of thematic
presentation is especially notable in Vieuxtemps’ Concertos Nos.2, 3, and 4, which recall Rode’s
assignment of particular themes to the orchestra and solo. The most frequently performed
concerto by Vieuxtemps is No.5 in A minor (1858–59) a ritornello-sonata form. 36
Niccolò Paganini (1782–1840) considerably changed the role of the virtuoso, and
subsequently the form of the concerto. With his tremendous technical achievement, the soloist
became more significant to contemporary concert life. In his six concertos, the soloist was a
main character, while orchestra slipped back to a secondary role, while the many innovative
virtuosic elements employed by Paganini had an enormous impact on the writing of the
contemporary violinist-composers. Acolytes such as Henri Vieuxtemps, and Heinrich W. Ernst,
among many others, 37 proceeded to use the full compass of lower strings, single or double
harmonics, left-hand pizzicato and idiosyncratic bowing techniques.
34
1990), 437–38.
35
Robert Layton, A Companion to the Concerto. 1st ed. (New York: Schirmer Books, 1988), 149.
36
1990), 418.
37
19
The Polish violinist, Karol Józef Lipiński (1790–1861), the dedicatee of Wieniawski’s
Polonaise Brillante in D major, Op.4, acquired equally splendid reputation as the only serious
rival to Paganini. Lipiński was noted for his beautiful, strong and deep tone quality similar to the
Classical school of Viotti and Spohr (1784–1859). 38 His preferred compositional genres
resemble those of Wieniawski and Ernst, with caprices, concertos, rondos, fantasies, polonaise,
and several variations on popular opera themes. Lipiński’s Military Concerto in D major, Op.21
(1834) is especially notable regarding another significant compositional method in the virtuosic
concerto genre: the progress of metric fusion. The combination of the simple and compound
meters, especially 4/4 and 12/8, between the solo and accompaniment for the slow movements is
seen in the works of many virtuoso performer-composers. Lipiński used such metric fusion to
form a single slow piece or slow movement. The technique is also seen in Paganini’s Cantabile,
originally written for violin and guitar; the second movement of Vieuxtemps' Violin Concerto
No.3 (1844); Wieniawski’s romance in the second concerto; and the appassionato section
between the solo violin and harp in the third Andante sostenuto movement of Bruch’s Scottish
Fantasy (1880).
Another great successor of Paganini, Heinrich Wilhelm Ernst (1814–1865) composed
four pieces that offer much similarity to Wieniawski’s two concerti. The Concertino in D major,
Op.12, 39 has a truncated R1 – S1 – R2 structure leading to the Adagio, where the interchangeable
meter in the middle section and cadenza at the end combine with the Paganini style of
orchestration in the first ritornello. Concerto Pathétique in F-sharp minor, Op.23 (1845–46)
showcases the delay of a satisfactory cadence and uses several motivic figures and P-based
38
Józef Powroźniak and Zofia Chechlińska, "Lipiński, Karol Józef." Grove Music Online. Oxford Music
Online. Oxford University Press, Accessed January 25, 2014.
39
Heinrich Wilhelm Ernst, Concertino in D major, Op.12, ed. Leopold Auer (New York: G.Schirmer,
1921), 1–6, accessed April 17, 2015, http://imslp.org/wiki/Special:ReverseLookup/24394.
20
cyclic material. 40 The polonaise, Op.17, has the rondo structure based on dotted motivic figures
used by both Lipiński and Wieniawski. Rondo Papageno, Op.20, contains scordatura, where all
strings are tuned a half-tone higher, 41 and concludes with a coda based on moto perpetuo (c.f.
Example 2.13). 42
The Austro-Hungarian violinist, composer, conductor and teacher, Joseph Joachim
(1831–1907) is one of the most important innovators in the Romantic violin concerto. Joachim
learned technique from “Joseph Böhm, a former pupil of Rode, himself taught by Viotti, both of
whom adhered to the classical French school.” 43 Although the three concertos written by
Joachim are no longer part of the standard repertoire, they document contemporary expansions of
the virtuoso violin concerto. The Concerto in G minor, Op.3 and Violin Concerto in D minor,
Op.11 “in the Hungarian Manner” (1857) achieve cohesive construction by skillful manipulation
of motivic usage. The former, dedicated to Franz Liszt, is unusual in that a single movement,
detached from the traditional platform of thematic procedure, is begun by a solo cadenza
revealing the four-note motif. In addition, Joachim sought cohesiveness through the blending of
three conspicuous motives in a palindromic structure based on thematic presentation (c.f. Table
4.3). Op.11 relies more on the cyclical material based on a particular rhythmic motif that both
the orchestra and solo maintain (Examples 4.25–26).
The works of the French violin school and Franco-Belgian school are the basis of the
Romantic concerto as it developed over the course of the nineteenth century. The formal
innovations of Viotti, Kreutzer, Rode, de Bériot, and Vieuxtemps gained further elaboration and
40
Heinrich Wilhelm Ernst, Violin Concerto ‘Pathétique’, Op.23. (Leipzig: Breitkopf & Härtel, n.d. [1851]),
1–27, accessed April 10, 2015. http://imslp.org/wiki/Special:ReverseLookup/14126.
41
Fan Elun, “The Life and Works of Heinrich Wilhelm Ernst (1814–1865) with Emphasis on His
Reception as Violinst and Composer” (Ph.D. diss., Cornell University, 1993), 241.
42
Heinrich Wilhelm Ernst, Rondo Papageno, Op.20. (Vienna: H. F. Müller, n.d.), accessed April 10, 2015.
http://imslp.org/wiki/Special:ReverseLookup/35303.
43
Beatrix Borchard, "Joachim, Joseph." Grove Music Online. Oxford Music Online. Oxford University
Press, accessed April 8, 2015, http://www.oxfordmusiconline.com/subscriber/article/grove/music/14322.
21
refinement through the masterful contributions of virtuosi such as Lipiński, Ernst, and Joachim.
All of these composers created and evolved the virtuoso violin concerto dominating the later
Romantic era; Wieniawski inherited these works, and their influence on his concerts is deep and
wide-ranging.
22
Chapter 2
Formal Structure of the First Concerto
This chapter assesses the formal structure of Wieniawski’s first violin concerto. Nowak’s “The
Violin Concerti of Henryk Wieniawski from Style ‘Brillant’ to the Romantic Idiom” provides
insight concerning the stylistic distinction between the two concerti. Most notably, the first,
Concerto in F-sharp minor, Op.14, was composed by an ambitious young virtuoso; heavily
influenced by the virtuoso function embodied in the concerti of Viotti, Kreutzer, Rode, Baillot,
Paganini, Ernst, de Bériot, and Vieuxtemps, it emphasizes the impression of the virtuosic soloist
upon audiences. 1 Table 2.1 presents the structure of the first movement according to three
analytical approaches: that of Lehrer, who uses ritornello-sonata form; Szymańska, with sonata-
allegro form; and this author, who applies sonata theory, revealing a Type V sonata form,
Subtype E. Formal divisions are indicated for each approach, along with measure numbers and
important structural points.
In this movement, the difficult techniques employed in the solo part are confined to a
formal structure alternating sections of tutti and solo. 2 This complies with the standard sonata
allegro structure of classical convention, which Szymańska endorses. 3 Lehrer identifies the
movement as Ritornello-Sonata with two contrasting themes in the combinatorial structure
characteristic of ritornello and sonata allegro. Due to the developmental character of the solo
cadenza at Episode II, the center of musical gravity is established in the first half of the
movement. Wieniawski also attaches more weight to the first and last ritornelli to render the
1
Anna Nowak, “The Violin Concerti of Henryk Wieniawski from Style Brillant to the Romantic Idiom.” In
Henryk Wieniawski: Composer and Virtuoso in the Musical Culture of the 19th and 20th Centuries, edited by Maciej
Jabłoński and Danuta Jasińska. Translated by Piotr T. Żebrowski, (Poznan: Rhytmos, 2001), 105–6.
2
Ibid., 106.
3
23
orchestral function of thematic presentation more effectively. The first episode—approximately
two-fifths of the movement in length—takes advantage of the key arrangement, with both themes
allowing the soloist to expand the brilliant display on open E and A strings.
First Movement: Allegro moderato 4
Lehrer Szymańska Bae Measure Key Feature

(Ritornello-Sonata) (Sonata allegro) (Type V, Subtype E) [tonality]
Ritornello I Orchestra Rotation I 1–24 F#-minor [і] PT
exposition Ritornello I (Orchestra)
Tutti
25–37 F#-minor [і] TR
37–42 F#-major MC, CF
[I, V/iv]
43–60 B-major [IV] ST
61–66 B-major  modulatory bridge
67–72 F#-minor [і] RTR

V-lock
Episode I – Solo exposition Episode I 73–96 F#-minor [і] PT
Exposition solo(tutti)solo Exposition
(Solo) Cadenza (m.96)
97–104 E-major [V/III] PT’
105–122 E-major [V/III] Display of episode
(Orchestra) 122–127 E-major [V/III] MC, CF
(Solo) 128–153 A-major [III] ST
153–187 A-major [III] Display of episode
188–193 A-major [III] EEC (III: PAC)
Ritornello II Development Ritornello II 193–220 A B C Closing 
Tutti Development D E A development, PT-
(Orchestra) G# based sequencing
Episode II – Solo Rotation II 221–250 G#mC#m Cadenza
Development Episode II BmF#m PT
(Solo) 
Episode III – Recapitulation Episode III 251–265 F#-major [I] ST
Recapitulation Solo Tonal resolution
(Solo)
266–275 F#-minor [і] Display of episode
276–287 [i64] Closing
(Orchestra) 288–289 C#-major [V] MC
Solo & tutti Ritornello IV 290–303 F#-minor [і] P-based Coda
Ritornello IV (tutti) 303–308 F#-minor [і]
Henri Wieniawski, Violin Concerto No.1 in F-sharp minor, Op.14. (Boca Raton, Florida: Edwin F.
4
Kalmus, Co., ca.1990’s), 1–45.
24
The first satisfactory cadence (EEC) is reached after the longest section of Episode I.
Table 2.2 illustrates how several leading composers design movements which skip the third
ritornello. Most treat Episode II developmentally; the exception in this sample is Viotti’s No.22,
where Episode III is directly attached and designed to reassure the listeners with reintroducing
the second theme with brilliant tonal achievements of parallel major keys in these concertos.
Table 2.2 Section Lengths in Several Virtuoso Concerti based on Ritornello Form
with the Omission of the Third Ritornello
Concerto Section R1 E1 R2 E2 (R3) E3 R4

Viotti, No.225
mm. 1–27 28–106 107–131 131–186 187–193 194–227 228–239
(c.1792–7) length 27 79 25 56 7 34 12
Rode, No.7 6 mm. 1–45 46–137 138–152 153–214  215–246 247–252
(1800) length 45 92 15 62 – 32 6
Kreutzer, No.13 7 mm. 1–25 26–107 108–124 125–170  171–220 221–229
(1803) length 25 82 17 46 – 50 9
Lipiński, Concerto mm. 1–60 61–192 192–218 219–282  283–354 354–361
Militaire 8 length 60 132 27 64 – 72 8
(c.1834) (3 themes)
Lipiński, No.3 9 mm. 1–94 95–199 200–241
242–316  317–374 374–387
(c.1835) length 94 105 42 75 – 58 14
De Bériot, No.4 10 mm. 1–52 53–142 143–164
165–215  216–264 265–270
(c.1844) length 52 90 22 51 – 49 6
Vieuxtemps, mm. 1–87 88–227 228–278
279–354  355–469 470–474
No.3 11 (1844) length 87 140 51 76 – 115 5
Wieniawski, No.1 mm. 1–72 73–193 193–220
221–250  251–289 290–308
(1852) length 72 121 28 30 – 39 19
(cadenza)
R=Ritornello; E=Episode. Bolded numbers are the length, in measures, of the longest and shortest
sections of the movement.
5
1990), 126–27.
6
Ibid., 137–38.
7
Ibid., 151–52.
8
Karol Józef Lipiński, Concerto Militaire, Op.21 (Leipzig: Breitkopf & Härtel, [1891?]), 3–51, accessed
April 22, 2015, http://imslp.org/wiki/Special:ReverseLookup/80200.
9
Karol Józef Lipiński, Violin Concerto No.3, Op.24 (Leipzig: Friedrich Hofmeister, [1836?]), meas.1–387,
accessed April 22, 2015, http://imslp.org/wiki/Special:ReverseLookup/61531.
10
1990), 322–23.
11
Ibid., 405–7.
25
According to sonata theory, the basic framework relying on ritornello form with an
elimination of the third tutti section can also be viewed as a Type V, subtype E sonata, due to the
incomplete quality of the development and recapitulation, and “suppress[ion of] a clear tutti-
effect around the area of the tonal resolution.” “The exposition may or may not be repeated, and
the second rotation begins as a developmental space; only in its second half – from S onward –
does it take on recapitulatory characteristics.” 12
Table 2.3 Subtype E: Type V Adaptation of the Type II 13
New rotation of material from R1 and S1
R1 S1 R2 S2  “S3” R4
tonal resolution
Soloist
Orchestra cadenza
I I  V V V  x  I I I
usually similar usually parallel to
to the opening of S1 the “second half” of
S1 or R1/S1 synthesis
The first ritornello, begun with a double dotted and syncopated rhythm, contrasts with the
second lyrical theme. The themes are separated by a medial caesura and caesura fill in F-sharp
major, which becomes the dominant of the second theme in the first tutti that follows. The
transition (mm.25–37) introduces a new contrast with ff, dense instrumentation, and the
subdominant key area. The agitated major ascending scales introduced by violins mm.31–33 are
juxtaposed with other instruments presenting the double dotted and syncopated rhythmic motives.
Chapter Three of Elements of Sonata Theory discusses the important functions,
characteristics, and many possible ways of treating the medial caesura (MC) in a two-part
exposition in a sonata form. Wieniawski avoids the normative cadence at m.37 (V/iv: IAC) by
12
13
Ibid., 438.
26
echoing the end of the thematic presentation. The following poco più lento at m.37 creates space
for medial caesura (MC) with a dominant arrival effect (V/iv), articulating a break between the
first and second themes. The next six measures (mm.37–42) marked rallentando and
diminuendo, function as caesura-fill (CF): “an exquisitely poised attenuation of previously
gained energy combined with a psychological preparation for the S-to-come.” 14 The second
theme is picked up by cello and accompanied with flowing triplets in the violins, in B major.
The first theme permeates the entire texture of the allegro and provides the base for the bridge
and the epilogue, 15 while the diminution of the theme, Animato at m.67, returns to the original
key as dominant lock (i6/4) and awaits the first appearance of the solo.
Wieniawski begins the first solo entrance with maestoso, fortissimo, high-register double
stops in tenths using the full compass of the violin. 16 One of the most challenging types of
double-stops for violinists to execute in tune, especially those who have small hands, this use of
double stopping in tenths recalls the first episode of the third movement of Paganini’s Violin
Concerto No.1 in D major, Op.6 (1817–18). Wieniawski presents the virtuosity required in the
left hand with a sustained double-dotted rhythm assisted by risoluto hocket-like response from
the string section.
Although a tempo range is not necessarily specified, many violinist-composers of the
French and Franco-Belgian schools favored maestoso for the first movements of concertos.
Usually reinforced by dotted rhythmic values and sometimes enhanced by forza, risoluto or
energico indications, maestoso is used in Viotti’s violin concertos Nos.3, 7, 9, 11, 15, 19, 24, and
14
15
16
27
29; Kreutzer, Nos.5, 6, 7, 8, 11, 13, and 17; Rode, Nos.1 and 6; de Bériot, Nos.2, 4, 7, 8, and 9;
Paganini, Nos.1 and 2; and Vieuxtemps’ first concerto. Although Vieuxtemps wrote risoluto for
the solo entrance instead of maestoso in his third concerto, the falling arpeggio at the beginning
of the movement within the double dotted rhythm against triplet-rhythm accompaniment is
encouraged by a crescendo invoking the first Allegro ma not troppo, un poco maestoso
movement of Beethoven’s symphony No.9. Joachim’s Hungarian Concerto in D minor, Op.11
is also Allegro un poco maestoso. Maestoso in Wieniawski’s first movement is notated at an
atypical location; not at the beginning of the movement, but with the first solo entry.
A short cadenza building up on a D-sharp fully diminished seventh chord at m.96 guides
the music to a Tranquillo section in a more distant key, E major. The triplet rhythm in the
violins and violas accompanying the soloist’s theme at m.97 predicts the upcoming solo’s
rhythmic value. Both Lehrer and Szymańska agree that the next extended solo capriccio section,
mm.105–153, is a closing thematic section. This space for solo passage work evolved
dramatically from the early concertos of Viotti, Kreutzer and Rode. Of such extensive figurative
sections, Szymańska states:
An important element of the virtuoso concerto form […] similar in character to a cadenza
in tempo […] in contrast to Mozart and Beethoven, in works by Viotti, Bériot, Rode, and
Paganini these are parts in their own right, usually thematically independent, with as
many as eleven of theme in one composition (Bériot No.3). 17
The high number of miniature solo cadences does carry a risk of sounding more fragmented
compared to the early classical concerto. In Wieniawski, mm.105–22 has the manner of a
cadenza in tempo, supported by alternating E major and D-sharp diminished seventh chords
sustaining long lines, pizzicatos on the beats, and soft tremolos in the orchestra. After reaching
17
28
the MC by a four-octave E major ascending scale, followed by left-hand pizzicato of solo at
m.122, Wieniawski recycles the caesura-fill material from the first ritornello.
The viola and cello accompany the soloist in the cantabile, poco piu lento, at m.128, in A
major. This second theme contrasts with the prowess of the first theme, recalling Layton’s
statement that “Paganini’s melodic style of several themes in his concertos owes much to the bel
canto of Italian opera.” 18 The recurrence of the theme an octave higher at m.146 is another
characteristic of virtuosic concerto, which de Bériot, Paganini and Vieuxtemps effectively
applied to their bel canto second theme, leading up to a virtuosic ‘display episode’. This term,
from Elements of Sonata Theory, illuminates the function and quality of the first solo’s closing
section.
This was the appending of a bravura close, often of substantial lengthy as the final
element of the solo exposition, finishing it off in spectacular fashion […] featur[ing] the
climactic spotlighting of rapid-fire technique on the part of the soloist […] all for the
purpose of bringing a heady kinetic energy to the brink and then discharging it via a
stylized trill-cadence in the elided Ritornello 2. 19
White notes of Viotti that: “The longest section of passage-work always follows the second
theme, as was also true in the works of Viotti’s predecessors.” 20 Correspondingly, the Episode I
sections of all the concertos listed in Table 2.2 take up a larger proportion of the movement
durations (marked by bold numbers). In Wieniawski’s No.1, this expanded section (mm.153–
187) allows the soloist to exhibit a wide variety of virtuosic techniques. The essential
expositional closure (EEC) is reached by dazzling consecutive thirds, tenths within a slurred
staccato, and four-octave cadential trills in A major (III: PAC) at m.193.
18
19
20
29
Reicha explains the process of thematic development within La grande coupe binaire –
his description of “sonata form”—in the second volume of his Traité de haute composition
musicale (1824):
[…] The divisions or categories of pieces of music which are the most advantageous
for the development of ideas. In this coupe, thematic development is concentrated in
the constantly modulating first section of the second part (i.e., the “development
section”). The first part is described as a series of four elements, a “first mother idea”,
a “bridge”, a “second mother idea” and an extension with accessory ideas. 21
The second ritornello (mm.193–220) serves as an important linkage to the second episode. A
heroic closing impression is confirmed by this developmental space built on several
modulatory sequencing blocks at four-measure intervals. Wieniawski promotes this climactic
section as a critical tracking device built on the principal theme traveling through successive
key areas: A – B – C – D – E, then returning to A major. The identical agitated major scales in
G-sharp major at m.215 recall the first ritornello’s transitional section. Instead of the expected
MC and caesura fill heard at m.37 however, the solo cadenza belonging to Episode 2 opens up
the second rotation. The beginning of this rotation conveys an impression of the main
character teleporting to the start in a different space.
The virtuosic cadenza functions as the most developmental section, reflecting
fragments of the primary theme. Elements of Sonata Theory explains the common procedure
of connection between the first and second rotation:
The end of the first rotation (the final cadence of the exposition) normally plunged into
the rest of sonata by relaunching P1.1.[…] Rotation 2 normally begins with the first
theme (P) sounded either as an explicit thematic reference or in an immediate
developmental elaboration but in a nontonic key, most often the key in which the
exposition had ended. 22
21
Jane R Stevens, “Theme, Harmony, and Texture in Classic-Romantic Descriptions of Concerto First-
Movement Form,” Journal of the American Musicological Society 27, No.1 (Spring, 1974): 45, accessed April 24,
22
30
Locating a cadenza fully in the second episode demonstrates Wieniawski’s understanding of its
formal function. Although both Lehrer and Szymańska emphasize that this second episode
containing only a cadenza lacks the usual characteristic of development, the placement of a
cadenza-like second episode was found as early as Paganini’s first concerto and Vieuxtemps’
first and third concertos. Likewise, de Bériot’s second, third, fourth and eighth concertos have
appealing ad libitum solo cadenza-like passages at the beginning or ending of Episode II, serving
as a dominant lock to Episode III. These freely composed sections for the most part contain
several fermatas, and are supported by a dominant harmony in order to articulate subsections.
This section also allows soloist to show off great dexterity upon fast scale figures in the capriccio
style.
Several earlier virtuoso composers have taken full advantage of these subsections to
modulate from one key to another, finally settling on the dominant. Lehrer examines Kreutzer’s
Concerto No.19 in D minor: “As in Rode’s violin concerti, the cadenza is located in Episode II,
rather than within Ritornello IV, which is the Viennese practice.” 23 Tracing back to concertos
Nos.15 and 18 by Viotti and Rode’s No.10, the end of second episode is prolonged in a written
cadenza before the third orchestra ritornello. Use of fermatas takes an important place in the
development of S2 in several Kreutzer’s concerti. In Vieuxtemps’ third concerto, the second
episode functions as a developmental section for motives from the first and second theme, while
the orchestration creates the feeling of a recitativo concerto, allowing the soloist to express a
more individual sound. Lehrer’s insightful observation helps understand the enlargement of this
section in between the virtuoso scope of fifty years from Rode to Wieniawski:
The first-movement cadenzas in Violin concertos 6 and 7 are placed at the end of Episode
II, rather than within Ritornello IV. The improvised cadenza is often essential in this new
23
1990), 156.
31
position to offset the minimal amount of notated development (In this regard, similar
procedures in two later works should be mentioned: a. The development in the first
movement of Mendelssohn’s Violin Concerto [in E minor, Op.64 which was advised by
David Ferdinand, a virtuoso concertmaster of Leipzig Orchestra at the time] ends in a
lengthy written-out cadenza. b. The same section in Henryk Wieniawski’s Violin
Concerto No.1 consists entirely of a written-out cadenza which develops Theme 1. 24
Lehrer also discusses the most interesting characteristic of nineteenth century Parisian
concertos categorized the Classical Style Type I. In Rode’s Concerto Nos.6 and 7:
Ritornello III is lacking in Violin Concerto 6 and 7. Although a common occurrence

already recognized by the theorist Heinrich Koch in his Musikalisches Lexikon of 1802,
Czerny fails to mention this fact in his descriptions. 25
Although Lehrer’s study of Carl Fischer’s edition suggests the lack of R3, two earlier editions by
Ferdinand David 26 and Adolf Grünwald 27 show that there is Ritornello III section (at mm.204–18
and mm.165–76, respectively). The cadenza is directly followed by the second lyrical theme (
Episode 3) in a parallel major key which projects a feeling of tonal resolution. The second theme
of the concerto in A minor (1800) initiating Episode 3 arrives at tonal resolution in a parallel
major key. Instead of considering the restatement of the secondary theme as a normative
recapitulation, the term tonal resolution is used for articulating a midway of the second rotation.
Tonal resolution performs its duty to “restate and tonally resolve the S + C portion of the
exposition.”28
Violinist-composers have already been accustomed to shorten or even eliminate the third
ritornello. In Viotti’s virtuosic Concerto No.15 in B-flat, he removes the third ritornello and
24
1990), 123–4.
25
Ibid., 124.
26
Pierre Rode, Violin Concerto No.6, Op.8, ed. Friedrich Hermann and Ferdinand David (Leipzig: Bartholf
Senff, [1902?]), 1st mov., meas.204–18, accessed April 28, 2015,
27
Pierre Rode, Violin Concerto No.6, Op.8, ed. Adolf Grünwald (Braunschweig: Litolff, [1881?]), 1st
mov., meas.165–76, accessed April 28, 2015, http://imslp.org/wiki/Special:ReverseLookup/13254.
28
32
connects the developmental solo display directly to the restatement of the primary theme. Viotti
also eliminates the third ritornello in his concerto No.19, creating an extensive developmental
section with various key changes. Nos.20, 24, and 25, focus more on enhancing new
developmental materials while omitting the third ritornello sections, while Nos.23 and 27 shorten
the middle ritornello to only six measures. This allows for more sophistication in terms of the
soloist’s ability to travel in various keys and display more demanding technique. At the same
time, the final two concertos of Viotti exhibit recurrence of the secondary theme resolving in
parallel major keys.
Kreutzer especially favors the format in which the secondary theme gets resolved in the
tonic key, directly followed by second developmental episodes (concertos Nos.5, 7, 11, 12, 13,
and 17), although his early concertos followed a more traditional design where the primary
theme is restated in the third episode. As mentioned in Lehrer’s study of Kreutzer’s thirteenth
violin concerto,
It is very similar in its overall structure to the three violin concertos by Pierre Rode [no.6,
7, 11] […] Episode III, a semi-recapitulation, begins with the middle subject, Theme 3.
Rode proceeds in a similar manner within his Violin Concerto No.7; but in that work the
middle subject is also heard in Ritornello I, in addition to its presentation in Episode I. 29
It was de Bériot who further expanded the concerto format, in his four early concertos, inserting
and expanding ad libitum followed by second episode’s fermata directly leading to the second
theme in tonic major key. Minor pieces are more effective at achieving parallel major tonal
resolution with the lyrical secondary theme.
The display of episode at Episode III (m.266) is recycled from Episode I (m.153). It has
the same purpose of showing off before closing with two satisfactory cadences: the EEC and
ESC. As mentioned by Lehrer, referring to Rode and de Bériot:
29
1990), 152.
33
Episodes I and III end, as per Czerny’s specification, with brilliant passages. What
Czerny fails to mention is that the final closing theme in each of these episodes is multi-
sectional and ends with a lengthy trill. In the case of the Violin concerto No.6 [by Rode],
there are multiple trills at the end of both episodes. These will be met again later in the
century within Bériot’s violin concerti. 30
In addition to four-octave-span trills mm.301–2 and 191–2 reaching to EEC and ESC, multiple-
stops and large leaps help project a feeling of a conclusion in Wieniawski’s Op.14.
When the final restatement of solo’s primary theme is recurred at m.290, a controversial
issue on the role of the recapitulation is brought into question: should it be regarded as a coda or
complete recapitulation? Szymańska underscores the recycling of an analogous term, Tempo I
Maestoso, a complete 8-bar phrase from the first solo entrance, and a conclusion of a short tutti
constructed for the epilogue material; the author is inclined to believe that the recapitulation is
complete with a reversed sequence of themes. However, Ławrynowicz and Lehrer suggest that
the recapitulation is incomplete and identify it as a coda. 31
Wieniawski gives a final statement for the soloist in a majestic style. The function of this
section must be considered within the entire movement. The composer exactly repeats five
measures (mm.290–294) from the solo entry, while softer dynamic in the lower strings occurs at
m.291. 32 The 8-bar phrase that Szymańska stresses seems to take place before and after the solo
theme, of only four measures, according to the comparison at m.288 with 71 and m.294 with 77
see Examples 2.1–2.2). The elimination of the wind parts and switching from the strings to brass
instruments are reviewed in the full score. This restatement gives a sense of folding the entire
movement with a concise reflection of the main virtuosic momentum. Until the final solo
30
1990), 124.
31
32
Kalmus, Co., ca.1990’s), 1st mov., meas.291.
34
cadence is reached at m.303, the length of this reiteration is not even a fraction of that of Episode
I. This author also notices the difference between the full score and the editions of piano
reduction including Friedrich Hofmeister, Richard Hofmann and Leopold Auer. Although the
full score has no accompaniment on the fourth and first beats of mm.75–76, 33 the
aforementioned piano editions have supportive tonic and dominant chords to fill the gap between
m.75 and 76 (see Example 2.3).

First Movement: Allegro moderato, mm.71–78. 34
33
Kalmus, Co., ca.1990’s), 1st mov., meas.75–6.
34
Henri Wieniawski, Violin Concerto No.1 in F-sharp minor, Op.14 for Violin and Piano, ed. Richard
Hofmann (Vienna: Universal Edition, [1910?]), 1st mov., meas.71–78, accessed April 24, 2015,
35

The structure is more easily understood through comparison with other works. The
concept of P-based coda should be explored in Vieuxtemps’ Concerto No.3, which Lehrer
considers ritornello-sonata form. 37 After the interpolated tutti mm.417–28 within Episode III,
three borrowed sections with a slight change of solo and different orchestral texture (compare
Examples 2.4 with 2.5 and 2.6 with 2.7) arrive at tonal resolution (Example 2.9).
35
Hofmann (Vienna: Universal Edition, [1910?]), 1st mov., meas.287–97, accessed April 24, 2015,
36
Ibid., meas.74–76.
37
1990), 405.
36
Example 2.4 Vieuxtemps, Concerto No.3, Op.25, First Movement: Allegro, mm.88–95. 38
38
Henri Vieuxtemps, Violin Concerto No.3 in A major, Op.25, ed. Leopold Auer (London: Augener, 1911),
1st mov., meas.88–95, accessed April 24, 2015, http://imslp.org/wiki/Special:ReverseLookup/4345.
39
37
Except for the identical quotation at mm.449–52, the solo recitativo in the Lento, and mm.457–
69 with tonal resolution, the restatements are distinguished from the first episode (Ex.2.8–9).
Example 2.8 Vieuxtemps, Concerto No.3, Op.25, First Movement: Allegro, mm. 216–27. 42
40
41
42
38
These restatements are also associated with the coda appearing in Type 2 sonata form:
“the P-based coda in a Type 2 sonata furnishes as unmistakable sense of wrapping things up at
the end with a highlighted restoration of the piece’s main idea its Hauptgedanke, in the tonic.” 44
Skipping the third ritornello, treating the second episode as a cadenza, and embarking on the
second theme in a tonally resolving third Episode may accordingly be treated as a variant of
Type 2; Subtype E from the Type 5 adaptation of the Type 2 (“binary”).
The concept of the P-based coda appears in many other works as well. Ernst’s Concerto
Pathétique, Op.23 gives a sense of being freely through-composed, yet it features motivic unity
and provides a sense of “wrapping things up” at m.420 in the Lento. Likewise, the Tempo primo
at m.487 in Joachim’s Violin Concerto in G minor, Op.3 concisely returns to the cadenza-like
solo opening. Szymańska concludes that “The Concerto in F-sharp minor belongs to that
category along with violin concertos by Rode (no.11), Kreutzer (no.19), de Bériot (no.3), and
Vieuxtemps (no.3). In this context, the strict adherence to the sonata form speaks exceptionally
in favour of this early composition.” 45
43
44
45
39
Second Movement: Preghiera; Larghetto 46
Lehrer Bae Part Measure Key [tonality] Feature Cadence

(Ternary) (Ternary)
Part I A a 1–8 A-major [I] PT: Horn and Viola
(Orchestra)
a’ 9–18 PT: Oboe I: PAC
Part II B b 19–33 A-major [I] ST: Solo Violin
(Solo)
b’ 34–48 With new orchestration
I: PAC
Part III A’ a + a” 49–58 A-major [I] Solo-descant
(Strings) PT: Strings-a I: PAC
The three sections in the second movement are arranged as A – B – A’. These are
connected by perfect authentic cadences and distinctly segregated on the principal of statement –
digression – restatement. The Preghiera (Prayer) recalls the simple ternary structure of those de
Bériot’s concertos categorized as Classical Style Type I by Lehrer. 47 The marking Larghetto
heightens the impression of stillness and lyrical simplicity. The spiritual title and opening
instrumentation bear remarkable resemblance to those of the second movement, Adagio religioso,
in Vieuxtemps’ Violin Concerto No.4, Op.31, composed in a more symphonic style around the
same time. In both of these slow movements, the combined sound of horn and bassoon carry
soothing melodies in a meditative mood. The juxtaposition of the following connected phrase in
both movements also shares the same instrumental group: oboe, clarinet and bassoon (see
Example 2.10).
It is also intriguing to compare Preghiera with the Adagio of Rode’s seventh violin
concerto in A minor as well. In both, the middle movement is in III (major mediant) and ternary
46
Kalmus, Co., ca.1990’s), 46–50.
47
1990), 303.
40
form, with a ritornello in which Part III is a shortened version of Part I. The beginning and
cadential approach from the viola in the first part of Preghiera are prefigured in the theme of the
first violin at m.49 as the Adagio moves towards unification. 48
Example 2.10 Vieuxtemps, Concerto No.4 in D minor, Op.31

Second Movement: Adagio religioso, mm.1–6. 49
The somewhat more active secondary theme begun by the solo violin remains in the same
key with the support of sustained string orchestra at m.19. As several virtuoso composers
favored using the only lowest string or lower two strings in their concertos to maintain a rich
tone color, the slow singing notes employing only G string at the solo entrance provide the
character of warmhearted prayer, similar to the second part marked sostenuto in Rode’s No.7
(see Example 2.11).
48
1990), 140.
49
Henri Vieuxtemps, Violin Concerto No.4 in D minor, Op.31 for Violin and Orchestra, ed. August
Wilhelmj (Offenbach: Johann André, [1903?]), 2nd mov., meas.1–6, accessed April 24, 2015,
41
Example 2.11 Rode, Concerto No.7, Op.9, Second Movement: Adagio, mm.23–47. 50
An ascending scale passage at m.21 in Wieniawski’s Preghiera reinforces the plaintive
solo voice. Lingering dominant tones from m.27 are supported by a rhythmic embellishment in
the clarinets and dreamy harmonic twist from the bassoons. The fifteen measures of solo violin
line is repeated (b’) with new orchestration (mm.34–48); con sordino upper strings playing
tremolo in a higher register, with the woodwind playing sustained high pitches and the trombone
wandering around the tonic. With the cadence at m.49, the return of the primary theme is clearly
punctuated by the first violins (a), while the solo violin plays a descant line (a”) to the end
(Ex.2.12). Overall, the secondary theme played by solo violin with only G-string evokes a
feeling of loneliness assisted by the thoughtful orchestration in a simple ternary format.
50
Pierre Rode, Violin Concerto No.7, Op.9, ed. Ferdinand David and Henry Schradieck (New York: G.
Schirmer, 1899), 2nd mov., meas.28–47, accessed April 24, 2015,
42
Second Movement: Preghiera; Larghetto, mm.32–58. 51
51
Hofmann (Vienna: Universal Edition, [1910?]), 2nd mov., meas.32–58, accessed April 27, 2015,
43
Third Movement: Rondo; Allegro giocoso 52
Lehrer Bae Measure Key (tonality) Feature

(Ternary) (Ternary)
Part I A
(Orchestra) 1–9 F#-minor [i] Intro – fanfare
(solo) 9–12 Intro – motif
a 13–34 A – refrain (cadence)
(Orchestra) 35–42 TR (A-based)
(solo) 42–56 A-major [III] F#-minor [i] Bridge theme
a 57–78 B-minor [iv] ends on B-major [IV] A (reprise)
IV: PAC
Part II B
b 79–123 B-major [IV] B Lyrical theme (interior)
123–147 B-major [IV] Episode(solo descant,
decorative)
B(orchestra) Ob.
b’ 148–184 A  D  [?] Modulatory episode
(solo, restless)
b (orchestra) (Vn I)
184–189 C#-major, [V] Tempo I
RTR (poco ritenuto)
V-lock
Part III a+b
a 190–211 F#-minor [i] ends on F#-major [I] Allegro
A
I: PAC
b 212–250 F#-major [I] B Lyrical theme
Coda 251–297 F#-minor [i] Virtuosic Closing
(Finale), New material
Although the third movement is indicated as a rondo, Wieniawski adopts several formal
concepts such as gigue, rondo and sonata. The concerto concludes with a lengthy coda appended
to a large ternary design: A (aa) – B (bb’) – a + b. This presents two halves consisting of two
contrasting themes, each unfolding twice, which Farga considers “in the form of a gigue in two-
four time, almost in Rode’s style.” 53 The overall ternary design is achieved by skillful carving of
the two contrasting themes as pillars: the first, mm.13–184, is broad; the second, mm.190–250,
52
Kalmus, Co., ca.1990’s), 51–76.

53
Frasnza Farga, Violins and Violinists. 2nd ed. Translated by Egon Larsen and Bruno Raikin. (London:
Barrie & Rockliff, The Cresset Press, 1969), 207.
44
more concise. These reach the agitated coda finale independent of the previous thematic
material. The rondo is thus best described as two-couplet structure without the third refrain, as
presented in Lehrer’s dissertation. 54 When Lehrer examines the rondo movements of the second
and third concertos by de Bériot, they bear remarkable resemblance to the rondo movement of
Wieniawski’s first concerto. Lehrer pays attention to de Bériot’s unique version of ternary form,
related to the classical example of Anotoine Reicha’s Grande Coupe Ternaire, which includes
materials from both Part I and II within Part III. “To be sure, the perky style of Theme I is that
associated with a rondo, but it only returns once, at the beginning of Part III.” 55 Table 2.6
presents several composers’ attempts to move the weighty Couplet I in early rondos and balance
sections in their later rondos.
Table 2.6 Section Lengths in Rondos based on Two–Couplet Structure
S Refrain I Couplet I Refrain II Couplet II RIII + coda

Viotti, No.12 56
mm. 1–37 38–137 138–164 165–229 230–285
L 37 100 27 65 56
Viotti, No.22 57 S Refrain I Couplet I Refrain II Couplet II Refrain III
mm. 1–39 40–159 160–198 199–312 313–358
L 39 120 39 114 46
Rode, No.6 58 S Refrain I Couplet I Refrain II Couplet II Refrain III
mm. 1–50 51–136 137–152 153–182 183–234
L 50 86 16 30 52
Rode, No.11 59 mm. 1–83 84–162 163–190 191–248 249–331
L 83 79 28 58 83
Kreutzer, No.1 60 mm. 1–44 45–138 139–154 155–268 269–312
L 44 94 16 114 44
54
1990), 145–6.
55
Ibid., 309, 313.
56
Giovanni Battista Viotti, Violin Concerto No.12 in B-flat major. Edited by Lambert Massart. (Paris: A.
Cotelle, [1840?]), accessed April 2, 2015. http://imslp.org/wiki/Special:ReverseLookup/335327.
57
1990), 130–31.
58
Ibid., 135–36.
59
Ibid., 144–46.
60
1972), 128.
45
Kreutzer, No.19 61 mm. 1–64 65–141 142–206 207–266 267–352
L 64 77 65 60 86
Ernst, Op.12 62 S A B A A’
SS A+b c+d A+b b’ B
mm. 1–113 113–246 246–322 322–379 380–435
L 113 134 77 58 56
Ernst, Papageno, S A B A B Coda
Op.20 63 SS A, a b, c, d A C
mm. 1–77 78–225 225–312 312–329 330–379
L 77 148 88 18 50
De Bériot, No.2 64 S Part I Part II Part III
SS 1, 2, 3 4, 5 1, 2 5
mm. 1–104 105–311 312–370 371–506
L 104 207 59 136
De Bériot, No.3 65 S Part I Part II Part III
(Ternary) SS 1 2,3 1 3 coda
mm. 1–56 57–207 208–265 266–294 295–333
L 56 151 58 29 39
De Bériot, No.10 mm. 1–50 51–95 96 – 111 112–208 209–239
(2 couplets) 66 P 50 45 16 97 31
Vieuxtemps, No.1 mm. 1–89 90–314 314–363 364–412 412–422
(Ternary) 67 S A, A B, C, D A + C Coda
L 89 225 50 49 11
Vieuxtemps, No.6 68 mm. 1–53 53–131 131–154 154–211 212–284
A A A B A
L 53 79 24 58 73
Wieniawski, No.1 S A B a + b finale
SS a, a b, b’ A B Coda
mm. 1–78 79–189 190–212 212–250 251–297
L 78 111 23 39 47
S=section; SS=subsection; L=length. The longest and shortest sections are bolded.
Within its large ternary structure, the relationship between the first refrains and couplets,
similar to the small binary melodic divisions, can be regarded as grande coupe binaire described
61
1972), 158.
62
Heinrich Wilhelm Ernst, Concertino in D major, Op.12. Edited by Leopold Auer. (New York:
G.Schirmer, 1921), accessed April 10, 2015. http://imslp.org/wiki/Special:ReverseLookup/24394.
63
Heinrich Wilhelm Ernst, Rondo Papageno, Op.20. (Vienna: H. F. Müller, n.d.), accessed April 10, 2015.
64
1990), 307–9.
65
Ibid., 312–13.
66
Ibid., 337–38.
67
Ibid., 404–5.
68
Ibid., 413–14.
46
by Reicha, “differentiating the large parts of this form according to melodic function. The
second part can be much longer than the first […] because the first part is only the exposition,
while the second is the development of it.” 69
The playful opening of Wieniawski’s Allegro giocoso is introduced by a surprise fanfare
in the horns and trumpets, imitating a howl of laughter, on C-sharp. Such a connection from a
gradually fading away closure of the slow movement to either a sneaky entrance or a stunning
sound in the finale was a common procedure in concertos of the French school; an attacca subito
enhances the sense of a cohesive work. In Rode’s concertos Nos.10 and 11, Viotti’s No.29 and
Beethoven’s Violin Concerto in D Major, Op.61, direct links to the last rondo finale from their
second movements end with short cadenzas; Military Concerto Op.21 by Lipiński links the fluid,
cadenza-like scale passages in B minor to the fortissimo fanfare of the Allegretto movement.
The marking giocoso ‘playful’ was not commonly applied to the Rondo movement, saved
by Joachim, whose last movement of the third concerto in G major is indicated as Allego giocoso
ed energico, ma non troppo vivace. The more frequently played Violin Concerto in D Major,
Op.77 by Brahms (1878) and Violin Concerto in A minor, Op.53 by Dvorak (1879), both
dedicated to Joachim, also share the characteristics of giocoso in their finales. A simple motivic
dotted rhythm figure with grace notes in the solo meno section (m.9) is heightened by horns’
laid-back descending thirds resolving on the fifth. Allegro leggiero from m.13 allows the solo to
access to the main refrain, focusing on the dotted rhythmic figure accompanied by a simple
string orchestra.
Elements of Sonata Theory describes the A-refrain in a rondo as “nimble, playful, or
tuneful, there is a characteristic, lighter feel to many of these rondo themes.” 70 A succession of
69
Jane R. Stevens, “Theme, Harmony, and Texture in Classic-Romantic Descriptions of Concerto First-
Movement Form,” Journal of the American Musicological Society 27, No.1 (Spring 1974): 44–5, accessed April 9,
47
rapid flexible dotted rhythm in the mood of leggiero conveys a rollicking feeling recalling the
last movement of Viotti’s concerto No.22 in A-minor. A number of refrains in rondo
movements in the concertos of Kreutzer and Rode rely on the dotted sixteenth and thirty second
rhythmic figure, whether the bowing is hooked or separated. In addition, one can often find
similar treatment of the refrain in Wieniawski’s other rondo form-based works, such as Allegro
de Sonate Op.2, two polonaises and mazurkas. 71 An orchestra transition imitating the solo
refrain at m.35 is intensified with woodwind instruments at m.39. A more brilliant solo linking
passage showing off wide leaps and descending scale in thirds is shortly countered by string
orchestra. The excitement of this virtuosic display drives into the subdominant key at m.57. A
reprise based on the same rhythmic figure plays an important harmonic role in launching the
second soothing lyrical theme following a perfect authentic cadence at m.78. The vocal
character on the second melodic theme is strong at m.79, the distinct leap of the falling minor
seventh recalling the cantabile second theme in the first movement.
Another important link to earlier virtuosos is Wieniawski’s use of mode exchange
through Maggiore or Minore sections. Besides assisting with tonal resolution of the second
lyrical theme in the first movements of many aforementioned concertos, a major to minor or
vice-versa mode alteration serves as an important compositional device to subdivide sections in
many rondo movements by Rode, Kreutzer and de Bériot. Rode exhibits a wide variety of
sectionalizing techniques through mode exchange, especially in Nos.7, 8, 9, and 10. These mode
exchange sections in the last movements are used to execute a variation of motivic figures; in
Nos.7, 8, and 10, the solo’s launch of new cantabile theme is approached through a prolongation
70
71
Chapter Four of this document provides further examples of the dotted rhythmic motif in several
concertos.
48
of dominant-related chords in a minor to a parallel major, while a new episode section
establishes a new motivic figure after the orchestral refrain in No.9.
Referring to Kreutzer’s concertos, Williams reports: “Nearly every finale has a C section
in a contrasting tonality and mode—normally labeled Minore or Maggiore in the score.” 72 In the
last movements of most concertos titled rondo, polonaise or bolero, Kreutzer broadly employs
this technique, usually three sharps or flats away in a midway section, to attain contrasting color
and later settle back into the home key. Paganini also takes full advantage in not only the finale
but also the first movement of the first concerto, Op.6, by recycling a ten-bar-long Maggiore
section in a parallel major key before the entrance of the solo development and episode display.
The Polonaise in 3/4 time, a dance of Polish origin, is heavily associated with the rondo
movement both in terms of the characteristics of the thematic contrasts and their structure.
Although the two finales of Wieniawski’s concertos are written in 2/4 time, they are distinctly
influenced by pollaca-based traditional works. Lipiński provides spectacular backdrop to the
characteristic rondo theme and structure of the movement in alla polacca Op.7 and Rondeau de
Concert, Op.18, which share the homologous dotted-rhythmic value for the main theme that
Wieniawski’s refrain is built on. His Polonaise pathétique and three polonaises Op.9 are
distinguished by middle trio sections where more lyrical or virtuosic style in the da capo
structure are developed.
Many would agree with Lehrer in categorizing Wieniawski’s rondo movement as a
ternary form. While discussing the first theme of the first part, he notes “an unusual feature
relating back to an analogous tonal shift present in the opening ritornello of the first
72
1972), 126.
49
movement.” 73 Wieniawski recycles the similar harmonic plan used in the first movement to
launch on the second cantabile theme which resolves in a satisfactory parallel major key: B
major. A continuation of the trend of repeating solo’s bel canto interior contrasting B theme an
octave lower is presented at m.95. The climax of the lyrical theme is reached by solo’s
ascending scale intensified by double stop in octaves. An elongated cadential chord starting
from m.116 allows the solo to embellish seven bars, joining the real body of decorative episode
at m.123. This developmental space, emphasized by solo descant lines (mm.123–184), is
divided by two subsections. From m.148, the first violins continue the sequences, supported by
sustained bass lines. Restless and smooth solo lines feature wider leaps, becoming more agitated
during the course of modulatory development. A succession of alteration of C-sharp major and
B-sharp-fully-diminished chords rooted in C-sharp pedal note (from m.180) accentuate the sense
of tonal arrival on the dominant. A check point poco ritenuto at m.186, in which the solo
reintroduces the main motivic figure of the refrain promoted by trumpets and a trombone, serves
as a dominant lock and helps the musical clock reset to 00:00.
The section Allegro leggiero from m.190 is a condensed restatement of both themes. As
many former composers were inclined to shorten the A refrain after a complementary reprise in
their rondo movements, only the first half of the A refrain and B lyrical theme are revived, in
mm.190–211 and 212–250 (c.f. Table 2.5). Viotti’s Concerto No.12 in B-flat Major similarly
recycles materials for both the refrain and couplet. In Wieniawski’s rondo, the original key of F-
sharp is conserved for the purpose of tonal resolution in both themes. This confines the whole
movement to a large ternary form with an auxiliary finale coda. In this way, he reserves the
most exciting and virtuosic momentum for this ending, which gives the impression of
73
1990), 448.
50
accelerating to a faster tempo due to the increased number of notes. The composer spares forty-
seven bars for the solo’s moto perpetuo ending. The solo’s rhythm, based on the sextuplet in
which every eighth note gets accented, builds higher tension in the virtuosic manner.
This extra space wrapping up the entire concerto with the characteristic of moto perpetuo
in a faster tempo is well established. For example, the last section più presto of Viotti’s No.3 74
ends with extensive sextuplet running notes in expanded harmony distinguished from the dotted
rhythm refrain. The closing of the rondo allegretto in Kreutzer’s No.19, marked più animato, is
reached by sixteen measures of extensive sextuplet notes in an expanded tonic harmony; as
Lehrer notes, “since [Kreutzer] wanted to end this minor key concerto in a major key, he devised
a special coda for the rondo finale consisting of five closing themes in the parallel major.” 75 De
Bériot was also in favor of invoking the excitement of the coda at an accelerated tempo, often
marked vivace or più animato and displaying constant demanding technique including fast
détaché strokes, rapid string crossings and double or triple stops (Nos.6, 7, 8, 9, and 10); of No.3,
Lehrer says, a “waltz rhythm [in 6/8 meter] permeates the structure until the Coda (m.295) where
binary rhythm [in cut time] is introduced to further accentuate the fantastic display of violinistic
technique.” 76 Rondo de Concert Op.18 by Lipiński has the converse shift in meter at the
beginning of the Coda Giocoso e Vivace at m.297, from 2/4 to 6/8 waltz rhythm. Vieuxtemps in
his third concerto concludes with rapid double and triple stops, which take advantage of open E
string, whereas Wieniawski imposes upon open A and D strings (Example 2.14). Ernst’s Rondo
Papageno Op.20 emulates the bouncy character of the refrain from Paganini’s first concerto and
concludes with a 45-measure coda poco più mosso in a perpetual motion (Example 2.13). The
74
75
1990), 150.
76
Ibid., 313.
51
closure of the movement or concerto via an accelerated tempo indications such as presto, poco
più presto or vivace toward the last tonic chord is present in concertos by Mendelssohn, Bruch,
Brahms, and Sibelius. Overall, Wieniawski purposely avoids imitating normative formal
convention, but combining the concepts of gigue, rondo, sonata, and moto-prepetuo coda to
create his own version of the rondo finale.
Example 2.13 Ernst, Rondo Papageno, Op.20, mm.329–37. 77

Third Movement: Rondo; Allegro giocoso, Finale, mm.251–58. 78
77
Heinrich Wilhelm Ernst, Rondo Papageno, Op.20. (Vienna: H. F. Müller, n.d.), meas.329–37. accessed
April 10, 2015. http://imslp.org/wiki/Special:ReverseLookup/35303.
78
Henri Wieniawski, Violin Concerto No.1 in F-sharp minor, Op.14. Edited by Leopold Auer. (New York,
NY: Carl Fischer, 1921), 3rd mov., meas.251–8. accessed November 13, 2014.
52
Chapter 3
Formal Structure of the Second Concerto
First Movement: Allegro moderato 1
Lehrer Szymańska Bae Measure Key Feature

(Truncated (Sonata (Incomplete [tonality]
Ritornello) Allegro) Sonata)
Ritornello I Orchestra Rotation I
exposition Exposition 1–8 D-minor [і] PT (Allegro moderato)
(tutti) (Orchestra)
9–16 F-major [III] ST
17–24 D-minor [і] PT
25–31 B flat-major ST
[VI]
32–45 D-minor [і] PT
46–53 D-minor [і] Transitional (Energy gain)
54–60 Eb-major MC, Closing (ff)
[bII]
61–67 A-major [V] V-lock
Episode I Exposition and Exposition 68–114 D-minor [і] PT (Dolce ma sotto voce)
development of (Solo)
PT
(solo & tutti)
(solo) 115–138 D-minor [і] Episode descant (solo, Poco
più vivo)
PT (orchestra)
139–156 E-minor [ii] Transitional (PT meets ST,
Energy gain, Appassionato)
Exposition and 157–172 F-major [III] ST (Romantic)
development of
ST
(solo & tutti)
173–187 F-major [III] Varied PT
(solo) 188–204 F-major [III] Episode (Più animato)
ST (orchestra)
205–220 F-major Episode (A tempo)
221–237 F-major Episode

Varied PT (orchestra)
EEC
Ritornello II Recapitulation Development 238–264 F-major Sequencing of PT,
Development (Orchestra) G-minor Juxtaposition of PT & ST
265–287 C-minor Sequencing of PT
288–309 Bb-major Motif for Romance
1
Henri Wieniawski, Concerto No.2 for Violin and Orchestra in D minor Edited by Howard K. Wolf Op.22.
(Boca Raton, Florida: Edwin F. Kalmus, Co., 2003), 1–42.
53
In contrast to his first concerto, Wieniawski designs the second in a more innovative
formal structure. It breaks away from the traditional format of violin concertos such as Viotti,
Kreutzer and Rode, while taking up many of the formal innovations found in the later concertos
of de Bériot, Vieuxtemps, Lipiński, Ernst, and Joachim. The second concerto is remarkable for
its use of integrated thematic material in both the solo and orchestra parts, cohesive cyclic
technique, and round, palindrome structure.
As shown in Table 3.1, the main solo exposition has a self-contained rondo platform
and center orientation. The middle section (mm.68–238) produces the most confusion over
formal structure. Lehrer identifies the movement as French Romantic Style with truncated
ritornello, in which the second ritornello develops two themes. 2 Szymańska’s article contributes
to the debate of whether to consider the middle solo section as an exposition, development, or the
both. Szymańska emphasizes the design of the passagework followed by thematic presentation,
which is similar to Wiwniawski’s first concerto. However, the function of the MC, CF, and
orchestra is quite different from the early concerto.
A similar procedure in Ernst’s Concertino in D major, Op.12 is reviewed in Table 3.2.
While the dominating first orchestral ritornello is akin to Paganini’s first concerto “in a light
opera overture manner,” 3 the second section, Adagio, acts as a substitute for the second episode.
After the E major chord medial caesura with a fermata (m.96), the five-measure caesura fill
introduces the second theme as the second half of the solo episode continues. Approached by
cadential trill from m.140, the EEC in A major (m.142) concludes the movement, and smoothly
links to the second movement with the help of rallentando. In a similar manner, the section
2
1990), 449–50.
3
Abraham Veinus, Victor Book of Concertos. (New York: Simon and Schuster, 1948), 326.
54
L’istesso tempo in alla breve at m.288 in Wieniawski’s second concerto prepares both the key
and motivic material for the following slow movement.
Table 3.2 Formal Structures of the First Movements of Ernst, Op.12 4 and
Wieniawski, Op.22
Section Orchestra 1st half of 2nd half of Development

Exposition Exposition
Ernst, mm. 1–51 52–95 96–142 143–164
Concertino in D length 51 44 47 22
major, Op.12 tonality D major D  E major E major V: PAC (EEC)
mm. 1–67 68–156 157–237 238–287 
Wieniawski, L’istessso–309
Concerto in D length 67 89 81 72
minor, Op.22 tonality D minor/ D minor F major F major III: PAC (EEC)
F major
This approach to structure can also be observed in Vieuxtemps’ Violin Concerto No.5 in
A minor, Op.37. Lehrer categorizes this as Classical Style Type II; Parisian Ritornello-sonata
form, 5 in a single movement.
Table 3.3 Sectional Organization of Vieuxtemps, Violin Concerto No.5 in A Minor, Op.37 6
R1 S1 R2 S2  S3, Adagio R4
EXPO DEV  Internal Sonata form Continuation of
Allegro
Gretry theme Gretry theme Gretry Gretry Con fuoco
(mm.127–149) (mm.230–256) theme theme
EXPO DEV RECAP
III V/III III I
Written between 1858 and 1859, Vieuxtemps created cohesiveness within a single-movement
form through the recycling of the main melody. As described in Lehrer’s dissertation:
This additional movement [slow movement] is found in Episode III where it functions as
the recapitulation of Theme 2 and 3 from Episode I […] Theme 3 of this concerto has
been borrowed by Vieuxtemps from the quartet Ou peut on être mieux qu’au sein de sa
4
G.Schirmer, 1921), meas.1–164, accessed April 10, 2015. http://imslp.org/wiki/Special:ReverseLookup/24394.
5
1990), 418–9.
6
Ibid., 418–9.
55
famille found in the opera Lucile (Paris: 1768) which was composed by the Belgian-born
musician, André Grétry (1741–1813). 7
The main lyrical theme presented in each episode attracts more attention when it finally arrives
at m.30 of the slow section Adagio with tonal resolution functioning as a lyrical summit point.
The final 34-measure long Allegro con fuoco section functions as a coda, emphasizing the
original key of A minor through articulation of dominant lock.
According to White, Viotti’s thematic hallmarks in the tutti section fall into three types:
The first as the “military” theme characterized by a firm beat, dotted rhythms, and
frequently by repeated notes; the second as the chordal theme, a short motive based on
the tonic arpeggio and usually answered by a similar figure on the dominant; and the
third as the lyrical theme characterized by a more sustained and legato melody […] The
lyrical opening is the only one which is ever repeated exactly, but in this case also Viotti
usually individualizes the melody to some extent. 8
In the second concerto, Wieniawski selects a lyrical theme for both tutti and solo entrances. The
primary theme is characterized by several motivic figures. In F major, the horn and bassoon
solos reveal the secondary theme, which is subsequently restated with a greater variety of
orchestral support. This expanded cross-linking idea in the thematic arrangement, and the
resulting structural character, recalls the more traditional frame derived from Viotti:
In all but two cases, Viotti chooses to modulate for the second theme […] A more
unusual feature of Viotti’s tutti exposition is the treatment of the return to the tonic key
before the solo entrance […] In two-thirds of Viotti’s concertos, the opening theme
returns, giving to the entire tutti exposition the character of a closed, “ABA” form. 9
While Szymańska marks m.42 as the beginning of the epilogue 10 in Wieniawski’s Op. 22,
the extended transitional section engaging the whole orchestra at m.48 delays the cadence,
7
1990), 415.
8
E. Chappell White. “Giovani Baptista Viotti and His Violin Concertos.” (Ph.D. diss., Princeton
University, 1957), 92–3.
9
Ibid., 90.
10
56
instead emphasizing the chromatic descending scale in the upper voice (mm.51–53). The
energy-gaining section with the Neapolitan harmony at m.54 is released by the second inversion
of the tonic chord at m.60, which acts as the medial caesura. A grand pause from the wind
instruments, two instances of hairpin-marked timpani roll, and sustained string instruments lines
built on a dominant chord roll out the red carpet for the soloist to merge into the structure.
The sustained legato melody, supported by relaxed accompaniment marked dolce ma
sotto voce, provides greater flexibility for the soloist’s expressiveness. This again recalls earlier
concerti; White describes the lyrical theme for the solo entrance in Viotti’s concerti as “a high
register and a firm, clear melody line which can be played with long detached, yet legato stroke
giving the immediate opportunity for a strong, singing tone.” 11 The trend away from restricted a
tempo toward slower, more relaxed expressive solo melodic lines is found in Viotti Nos.17–20,
Kreutzer No.18, and Rode Nos.8, and 10.
Example 3.1 Rode, Concerto No.8, Op.13, First Movement, mm. 64–73. 12
11
12
Pierre Rode, Violin Concerto No.8, Op.13. Edited by Friedrich Hermann, Ferdinand David, and Richard
Hofmann. (Leipzig: Bartholf Senff, [1902?]), 1st mov., meas.64–73, accessed April 11, 2015.
57
Example 3.2 Kreutzer, Concerto No.18 in E minor, First Movement, mm.68–71. 13
These lyrical solo openings allow performers to express and shape the melody with their
own temperaments. Similarly focusing attention on the soloist is the influential violin concerto
by Mendelssohn, in which the first movement Allegro molto appassionato omits the first
ritornello bringing immediate attention and places the written-out cadenza leading to the
recapitulation. The recitativo-like solo entrance is attributed to Vieuxtemps’ Concerto No.4
(c.1850) and 5 (1858–9), and both Bruch’s Violin Concerto No.1 (1866–8) and Scottish Fantasy,
Op.46 (1880).
Escaping from the standard ritornello form, several concerti by de Bériot and Vieuxtemps
achieve structural cohesion through their single-movement form (see Table 3.4). Wieniawski
chooses more conservative approach to unfold the primary theme, close to Kreutzer’s Concerto
Nos.8 and 15 and Viotti’s works.
Table 3.4 Concerti based on a Modified Ritornello Form
S R1 S1 R2 S2 R3 S3 R4 S4 R5
De Bériot, M 1–57 58–177 178–204 (1–74) 205–13 214–95 295–304
No.5 (c.1846) 2nd mvmt: 1a
Modified 1a’returns (m.44)
Ritornello 14 L 57 120 27 - 9 82 10
Vieuxtemps, M 1–60 61–181 182–214 (1–53) 3rd mov 73–144 145–214
No.2 (1836) 2nd mvmt: return of 1–72 [287–358] [359–
Truncated the beginning (m.42) [215–286] 428]
Ritornello 15 L 60 121 33 - 72 72 70
13
Rodolphe Kreutzer, Violin Concerto No.18 in E minor, “Lettre F.” (Offenbach sur le Mein: Jean André,
[1811?]), 1st mov., meas.68–71, accessed April 13, 2015. http://imslp.org/wiki/Special:ReverseLookup/101751.
14
Charles-David Lehrer, “The Nineteenth-Century Parisian Concerto” (PhD diss., University of California,
1990), 324–5.
15
Ibid., 437–39.
58
Vieuxtemps, M 1–74 75–166 167–174 (1–91) 1–80 81–277
No.4 (c.1850) 2nd mvmt: Adagio [175–254] [255–451]
Ritornello & religioso, 1a’ returns [3rd [4th
Recitativo 16 at m.64) mvmt: mvmt:
scherzo cont.] 2/2
meter
3rd mvmt: Scherzo; tutti S1 R2 S2 S3
Vivace, 1–80 81–147 (Dev I) (Dev II) 193
Ternary 148–57 158 – –
Intro of 4th mvmt, 192 277
R1 tutti
L 74 92 8 - 80 197
Wieniawski, M 1–67 68–237 238–309 (1–72) Intro 3rd mvmt continued,
No.2 (1862) 2nd mvmt 1–36 37–370 [346–679]
[310–345]
L 67 170 72 - 36 333
S=section; M=measure; L=length in measures.
A repetition of the primary theme is developed and varied from m.84. Supported by a
Neapolitan chord at m.86, the solo proceeds to a short cadenza arriving at the cadence m.90,
where the thematic baton is passed to the first violins.

Instead of staying on the same key area, the solo singing on the G string presents the theme in C
minor harmony, although that soon becomes fickle and moves to the dominant chord with
fingered octaves ascending scales. The cadence at m.115, after the third repetition of the theme,
is separated by its texture and rapid solo fast running notes.
Ibid., 431–37.
16
Henri Wieniawski, Violin Concerto No.2, Op.22 (Mainz: B. Schott's Söhne, [1879?]), 1st mov., meas.86–
17
88, accessed April 27, 2015, http://imslp.org/wiki/Special:ReverseLookup/234257.
59
Several fragments from the main theme accompanied by strings at mm.119–20 and 123,
and a clarinet at m.130, suggest the recycling of motivic figures. When the solo chromatic
descending line approaches the appassionato section accompanied by tremolo strings, the
musical tension is built up from the conflict between the primary and secondary thematic
material (this is shown in greater detail in Chapter 4, Table 4.2, which compares the analyses of
Szymańska’s and this author). As Szymańska proposes, “The pattern of the concerto’s first
movement differs from the sonata form only in the alternating sequence of the themes […] This
is built on the principle of contrasting cantilena with figurative fragments. The material is
arranged in a characteristically alternating fashion.” 18
The dramatic tension is escalated in the next section (mm.139–150) between several
fragments of the primary theme and the secondary theme, in the solo violin, flute, bassoon, and
clarinets. After a short solo cadenza climbs to high D-flat with double-stops in octaves, the solo
oboe brings the energy down with the head of the second theme. The first violins and flutes at
m.174, and 177–180 recycles sequences from the first theme. At m.188 the soloist shows off a
wide range of demanding techniques, with double-stop in octaves, thirds, and sixths. The only
section without any thematic reference is mm.205–221; this cadenza in a tempo style draws
attention to soloist’s energetic double-stops and rapid runs of pitch-class set [0123]: a simple
chromatic tetrachord type, with the accents either on or off the beat, spanning three octaves
followed by chromatic descending glissandos on D string and slur staccatos. While the
accompaniment stresses one of the main motives (M3; see Ex.4.22) in sequence, the core display
of episode, ending at m.221, summarizes some of the previously introduced episode before an
18
60
ascending cadential trill at m.234. A similar treatment is found in Wieniawski's Polonaise
Brillante No.2, Op.21 (see Examples 3.4–3.5).
Example 3.4 Wieniawski, Polonaise Brllante No.2, Op.21, mm.242–45. 19

The EEC is attained at m.238; the structure of the following section is open to debate.
From the classical view point, development may seem appropriate; the term has been understood
as involving: “frequent modulation; complete or fragments references to motivic or thematic
material from the exposition, typically shifted through different harmonic and major-minor
color.” 21 The section after the EEC moves through G minor at m.246, while a high-energy tonal
collision between the notes B and F occurs at m.254 as two themes are juxtaposed. The outer
19
Henri Wieniawski, Polonaise Brllante No.2, Op.21, ed. August Wilhelmj (Mainz: B. Schott's Söhne,
1909), meas.242–45, accessed April 28, 2015, http://imslp.org/wiki/Special:ReverseLookup/87732.
20
Henri Wieniawski, Violin Concerto No.2, Op.22 (Mainz: B. Schott's Söhne, [1879?]), 1st mov.,
meas.222–24, accessed April 27, 2015, http://imslp.org/wiki/Special:ReverseLookup/234257.
21
61
voices, registering the dramatic ramifications of major- and minor-mode transformation through
this section, connect to the L’istesso section, m.288, which provides a hint of rhythmic motif for
the following Romance in B-flat.
There are three main reasons suggested by Szymańska for considering this section as a
recapitulation:
[First,] the motifs, transformed through variations and contrapuntally juxtapose, are
supported by a characteristic accompaniment of the first theme (bars. 254–257) […] In
this way, the composer succeeds in creating a masterful union of the two themes in the
recapitulation of the sonata allegro – the form characterized by its thematic dualism
[secondly,] while the tonal plan of the tutti wanders towards the key of the subsequent
romance, its very structure bears a clear resemblance to that of the exposition [thirdly,] if
we exclude the third re-introduction of the first theme in the orchestral exposition, and
bear in mind the slight shortening of the epilogue in the recapitulation, the length of these
two parts is almost identical and amounts to fifty bars. 22
I find this analysis lacking. The first perception of thematic dualism is based more on the
recycling of the motif itself and less on a rational explanation of forming of the complete section
through “the action-zone layout initially set forth in the exposition (P TR ’ S / C).” 23 Rather than
thematic representation of the motif, I consider this a chaotic sequential development with
motives derived from the orchestra exposition. Second, in contrast to the well-organized
exposition, several motives here are thrust out at random. Third, although an approximate length
of both orchestra tutti sections are equivalent, no solo section follows the later orchestra tutti.
Thus, there is no accomplishment of the tonal resolution providing essential structural closure –
and “the attaining of the ESC is the most significant event within the sonata. Here the tonal
expectations of the generically essential sonata action are satisfied, although they may be
22
23
62
stabilized further by any reinforcement that the following C-space provides.” 24 Wieniawski
postpones the ESC to the last movement. As such, “Lehrer, Frączkiewicz’s and Ławrynowicz
claim that there is no recapitulation in Concerto No.2.” 25
The solo clarinet (in B-flat) connects the end of the first movement to the Andante non
troppo, landing on the leading tone of B-flat and preparing rhythmic values for the Romance.

Such symbolic use of solo instruments including clarinet, oboe, bassoon and violin, to
link the first and slow movements is common in the Romantic era. Besides Ernst’s Concertino
in D major Op.12 (1836–7), Mendelssohn’s Violin Concerto in E minor, Op.64 uses the first
bassoon to hold the leading tone into the Andante. The first violin in Bruch’s Violin Concerto
No.1 in G minor, Op.26 sustains the B-flat which becomes the dominant key of the Adagio.
According to Lehrer, “Ritornello II further develops Themes 1 and 2 before closing and
being bound to the second movement by a transition.” 27 In Op.22, the orchestra development
which wraps up Rotation 1 lacks a functioning tonal resolution. However, Wieniawski achieves
cohesiveness through flexible manipulations of two themes; the primary theme is designed to be
24
25
26
27
1990), 450.
63
split into several recognizable motives, and intersects with the secondary theme in the orchestra
exposition and development.
Second Movement: Romance; Andante non troppo 28
Lehrer Bae Part Measure Key Feature Indication

(Binary) (rounded- [tonality]
binary)
Part I A a 1–15 Bb-major PT (solo) Andante non troppo (p)
[I] poco ritardando
a’ 16–26 PT repeated A tempo
B a” 27–34 Db-major Sequence of PT with Animato (crescendo
Part II [bIII] new orchestration poco a poco)
(m.29) Modulatory (tremolo)
35–48 new orchestration Sempre animato
Another (strings only) (crescendo) (ff)
modulatory Poco piu ritardando
A’ a (orchestra) 49–62 Bb-major First violin & cello A tempo, dolce (pp)
+ [I] (PT), solo (descant)
b (solo)  merges into PT (ff), diminuendo
m.58
63–72 Closing RitardandoA tempo
The Romance, the second movement of Op.22, has become the encore piece of the
Wieniawski’s competition. The title Romance has been used extensively since the late
eighteenth century, and the popularity of Romance movements in the violin repertoire is
enormous as seen in the works of Kreutzer, Viotti, and Joachim. Roger Hickman defines the
term romance as a song type giving way to the more dramatic mélodie in the vocal romance after
1830; Antoine-Joseph Romagnési in 1846 specifies “sentimental, dreamy melodies and serious,
heroic and strong rhythm in passionate and dramatic songs.” 29
28
(Boca Raton, Florida: Edwin F. Kalmus, Co., ca. 1970’s), 43–52.

29
Roger Hickman, “Romance." Grove Music Online. Oxford Music Online. Oxford University Press,
accessed March 31, 2015, http://www.oxfordmusiconline.com/subscriber/article/grove/music/23725.
64
The romances of Kreutzer’s concerto Nos.2, 3, 5, and 9 are nearly equal length to
Wieniawski’s romance. Of these movements in Kreutzer’s concertos, especially Nos.1 through 6,
William says, “[they] are in a lyric style, with few opportunities for display of technique. The
basic form of [them] is A B A’, with the B section often only a slightly changed version of the A
theme.” 30 Likewise, Wieniawski divides B section into several sequences of the primary theme
in an animated lyrical style, forming: A (a a’) – B (a”) – A’ (a b). This da capo form of the
romance without a tutti section is also established in Viotti’s works. White addresses the
movements in Viotti’s concertos, with attention to the manner in which the galant spirit of
romance is presented:
The second group, including Concertos 4 through 7, is dominated by the romance

conception, although only two (4 and 7) are so indicated and on (6) is an adagio. Three
of the four have no tutti whatsoever. All are in the da capo form typical of the romances
as it was treated by Viotti’s predecessor. 31
While Lehrer’s formal table classifies the movement as a binary form, with Part II
departing from m.29 in D-flat major, 32 I find that the return of the melody in A’ section creates a
rounded binary form. According to Earl Henry, “Rounded binary has a more elegant legacy.
Tonal and thematic recurrence, combined with unlimited possibilities of contrast in the second
section.” 33 Several rhythmic motives in both the orchestra and solo build up a captivating
melody through compelling modulations, especially in the central section of the Romance.
There is a vigorous section of gradual string tremolos at m.27 with frequent harmonic changes
projecting a contrasting feeling (Ex.3.7). The first violin and the cello reaffirm the main theme
30
1972), 122.
31
32
1990), 450.
33
Earl Henry and Michael Rogers, Tonality and Design in Music Theory. (N.J.: Pearson: Upper Saddle
River, 2005), 448.
65
at m.49 while the soloist embroiders the melody in a high register and flexible rhythmic gesture.
Recalling Joachim’s Romanze in the Hungarian Concerto “With the return of the first part at
m.61, the principal melody appears in the violoncellos and first horn, while the solo violin
unfolds its profuse embellishments.” 34

Second Movement: Romance; Andante non troppo, mm.27–32 and 49–52. 35
34
Benjamin F. Swalin, The Violin Concerto: a Study in German Romanticism. (New York: Da Capo Press,
1973), 85–6.
35
Henri Wieniawski, Violin Concerto No.2, Op.22 (Mainz: B. Schott's Söhne, [1879?]), 2nd mov.,
meas.27–32 and 49–52, accessed March 20, 2015, http://imslp.org/wiki/Special:ReverseLookup/234257.
66
Third Movement: Allegro con fuoco – Allegro moderato (à la Zingara) 36
Lehrer Szymańska Bae Measure Key [tonality] Feature Indication

(Sonata) (rondo, (9-part mood/dynamic
sonata rondo)
allegro)
Intro EXPO Intro
Cadenza A Orchestra 1–15 D-minor [i] Dialogue between Con fuoco (f)
orchestra & Solo cadenza
Solo 15–36 Solo cadenza Leggiero
(ritrdando)
EXPO A 37–58 D-minor [i] open a, (A la Zingara) Allegro

EXPO moderato
59–78 D-minor [i] open a’ (repetition) Tranquillo
Orchestra 79–100 Modulatory Transitional (ff) 
diminuendo
Solo 101–104 D-major [I] Solo re-enter Poco rit.
B B 105–134 Eb-major [bII] b (ST from the first Tempo
movement) tranquillo
DEV DEV A’ 135–167 G-major  B- a” restless sixteenth note A tempo (poco
A DEV major  D-minor run (modulatory) più vivo)
167–177 D-minor [i] Solo cadenza (borrowed Poco ritardando
from m.27) (diminuendo)
RTR
C C 178–217 D-major [I] c (new material), Rollicking
[V  VI] c’ (combines with ST)
interrupted
A A’ 218–234 Bb-major [VI] a” Molto moderato
Orchestra 235–239 Eb-major [bII] RTR (from m. 87) A tempo
risoluto ma
moderato
Solo 240–243 Solo re-enter Poco ritardando
RECAP RECAP B’ 244–272 Bb-major [VI] b’ Tempo
B tranquillo
273–275 [V of i] Solo V-lock trill (function Ritardando
as RTR)
A A 276–315 D-minor [i] Flute starts a Tempo
RECAP tonal resolution Solo merges to a at m.284 moderato
Coda Coda C 316–343 D-major [I] c (replica of m.178) Leggiero

c’ (combines with ST)
A” 344–360 D-major [I] Coda for solo A tempo
Coda Return of a in orchestra (con fuoco)
361–370 D-major [I] Final cadence f  ff
36
67
The structure of the last movement, subtitled as à la Zingara (in Gypsy style), is the most
adventurous movement in either of Wieniawski’s concertos. Swalin states that “the Finale alla
zingara (Allegro) [in Joachim’s Hungarian Concerto] may be regarded as a precursor of the
Allegro moderato à la Zingara of Wieniawski’s Concerto in D minor, Op.22.” 37 The first theme
resembles that of Joachim’s Finale alla Zingara in a fast spiccato manner, while the second and
third themes recycle the second theme of the first movement (review the feature column in Table
3.6). The Allegro con fuoco or sometimes forza marked at the beginning has been broadly
applied to the endings of other virtuosic concertos; for example, in the last 16 measures of
Mendelssohn’s Violin Concerto Op.64, 34 measures of Vieuxtemps’ Concerto No.5 and 11
measures of Bruch’s concerto No.1. The ending manner, fortissimo brillante con fuoco at m.344
of Wieniawski’s à la Zingara, stands out vividly against the breathless style of Wieniawski’s
coda for first concerto.
Swalin addresses the cyclic nature in Hans Sitt’s Concerto in A minor Op.21: “There are
evidences of the principe cyclique; for the solo violin enters (meas.17) with improvisatory
phrases that return in the Moderato section of the finale. Compare, for example, measures 5–14
of the later [Finale, Moderato] with measures 17–26 of the first movement.” 38 Except in the
refrain, the contrasting B and C episodes in Wieniawski’s à la Zingara are worked out of the
second theme from the first concerto. It is shaped in an expanded rondo format consisting nine
parts. Although Lehrer suggests that the movement is cast in a sonata form in which the
development features a new theme (Theme 3), 39 Szymańska asserts that “the repetition of the
main motifs appears to provide a strong indication that the structure of the finale should be
37
1973), 86.
38
Ibid, 118.
39
1990), 451.
68
classified as a rondo, with its characteristic recurrences and thematic dualism.” 40 The first
Episode B in E-flat major (bII), from m.105 in poco più tranquillo, evolves to an appassionato
section through enharmonic modulation. The fortissimo molto appassionato at m.123 recalls the
last climax of the second movement (m.57) employing the octave-double-stop with orchestra
tremolos. It also serves as a preparation, settling on the second inversion of the G major chord,
to continue to the next refrain in G major at m.135.
As seen in Table 3.6, multiple analyses agree that the return of the A refrain at m.135 is
the beginning of the development area since the restless refrain moves through different tonal
area. A refrain is developed in G major and B-flat major in the developmental section. The
second theme from the initial movement reappears in the first couplet in the B section of à la
Zingara, where it is further juxtaposed with the new rollicking solo theme (C) at m.194 and 332.
This thematic interweaving assembles the whole concerto in a cyclic style.
It is noteworthy to review how Emery describes the characteristic of sections:
[…]Thirty measures later the key changes to G major and the violin plays a continuously
moving staccato figure which leads to the real second subject of the movement, a brisk
theme in doubles in G major. Development of the first theme then follows and there is
working out of the second subject of the opening movement. The recapitulation opens
with the principal theme in the flute, the solo violin playing a trill on high A. 41
Although some analyses indicate the return of the B section at m.244 as a recapitulation, I
agree with Emery’s account of the recapitulation. According to Lehrer, “The recapitulation of
Theme 1 and 2 occurs in reverse order, and the coda operates like a second development.” 42
Respecting the character of the development in earlier concertos, “[…] the development’s last
40
41
Frederic B Emery, Violin Concerto. (Chicago: Da Capo Press, 1969), 268.
42
1990), 451.
69
task is to prepare for the dramatized return of the tonic (retransition), usually by deploying an
active dominant (locking onto the structural dominant, almost always VA of the tonic-to-come)
and proceeding forward with it, often gaining energy in the process.” 43 Szymańska focuses on
the composer’s placement of the double line between m.243 and 244, considering it the
beginning of recapitulation. However, the second theme is in a distant key, B-flat major, and is
followed by dominant seventh chord of the original key that neither articulates a tonal arrival nor
provides “the point of ESC essential structural closure, the goal toward which the entire sonata-
trajectory has been aimed.” 44
The issue with labeling either m.244 or m.276 as recapitulation is caused by the delay of
a satisfactory authentic cadence. The molto appassionato section at m.262 is enhanced by the
extension of the second inversion of the tonic chord, functioning as retransition and arrival of the
dominant pedal to m.272; this allows both the soloist and solo flute to return to the primary
refrain theme. Consequently, the length and building blocks of exposition mm.37–78 and 105–
134 (A + B) approximately correspond to mm.276–343 (A + C); this mapping strongly suggests
recapitulation. The function of the refrain in the recapitulation is well balanced due to the
transfigured secondary thematic area C. The virtuoso has unfolded the refrain in several key
areas, each succeeding to couplets containing the recurring theme, to ensure the impression of
freshness while maintaining unified thematic material. Swalin therefore sees the movement as “a
voluminous rondo with the design: A – B – C – A – D – A – B – C – coda.” 45
This nine-part rondo platform including coda possibly developed from a single polonaise-
based pieces, as seen in the final movement rondo alla polacca of Beethoven’s Triple Concerto
43
44
Ibid., 232.
45
1973), 86.
70
in C major Op.56 (1804); each episode has its own characteristic style assisted by various
rhythmic content. This format, also seen in works such as Lipiński’s Rondo Alla Polacca in E
major, Op.7 (ca.1817) and Ernst’s Polonaise Op.17 (ca.1842) (see Table 3.7), allows for a wider
range of violinistic techniques in a flowing yet unified structure. The variety of particular styles–
–Lipiński’s risoluto, cantabile, scherzando, and grandioso; Ernst’s con molto sentiment, leggiero,
and ritenuto pesante––articulates both expression and inner cohesion.
Table 3.7 Formal Structures of Lipiński, Rondo Alla Polacca in E major, Op.7 and
Ernst, Polonaise, Op.17
Lipiński, S A B C RTR A D RTRA C Coda

Op.7 46 mm. 1 57 121 204 221 258 360 441 505–567
Ernst, S A B C A B D B C Coda
Op.17 47 mm. 1 90 131 169 240 272 308 334 364–386
S=section.
In this formal study, the development of Wieniawski’s style is very clear. Where the first
concerto develops the musical narration with highly embellished violin technique in a fairly
conservative design, the second concerto turns to a more romantic style, establishing an
expanded formal design that achieves a higher level of cohesiveness through the principal of
cyclical thematic materials and the unified refrain.
Karol Józef Lipiński, Rondo alla Polacca, Op.7. (Leipzig: Breitkopf & Härtel, [1817?]), accessed April
46
17, 2015. http://imslp.org/wiki/Special:ReverseLookup/32838.

47
Heinrich Wilhelm Ernst, Polonaise de Concert, Op.17. (Vienna: Pietro Mechetti, [1842?]), accessed
71
Chapter 4
Musical Content of Two Concertos
This chapter examines the overarching motivic relations and harmonic arrangements in
Wieniawski’s concertos. Some particular motivic usages play a significant role in the
composition of both concertos; comparing how each work employs the technique therefore
allows much insight into the development of Wieniawski’s violinistic writing influenced by other
virtuosi. Similarly, the concertos are readily distinguishable by examining the larger harmonic
structure and the role of chromatic progression in each.
Motivic Relationship
As with the general organization of the concertos, the first approaches the use of motive
conservatively, the second in a more romantic and free style modeled on that of Joachim’s
second concerto. A distinction between the two concertos can be observed in how the motive is
developed in the tutti and solo parts as well. In the first concerto, both the orchestra and soloist
present the motivic material separately and develops the two main motives (M1, M2) within
restricted sections. The second concerto, however, develops the four main motives (M1, M2,
M3, M4) combined with the recurring motif from the secondary theme.

To contrast with secondary cantabile theme in the first concerto, it begins with a peaceful
clarinet solo playing a double dotted rhythmic motif (M1) making up the first half of the primary
1
NY: Carl Fischer, 1921), 1st mov., meas.1–9, accessed November 13, 2014,
72
phrase. The tradition of employing the double dotted rhythmic motif is well established by many
violinist-composers such as Kreutzer, Spohr, Vieuxtemps, Ernst and Joachim. Kreutzer
particularly favored constructing the first theme with double dotted rhythm as seen in the first
ritornello of the first movement of concertos Nos.8 and 18 (see Examples 4.2–4.3).
Example 4.2 Kreutzer, Violin Concerto No.8 in D minor

First Movement: Maestoso non troppo, mm.1–8. 2
Example 4.3 Kreutzer, Violin Concerto No.18 in E minor

First Movement: Moderato, mm.1–4. 3
The entries of Spohr’s concertos Nos.1 and 11 embrace the double dotted motivic figure in a
majestic manner (see Examples 4.4–4.5).
Example 4.4 Spohr, Violin Concerto No.1 in A major, Op.1

First Movement: Allegro vivace, mm. 1–5. 4
2
Rodolphe Kreutzer, Violin Concerto No.8 in D minor. (Offenbach sur le Mein: Jean André, [1809?]), 1st
mov., meas.1–8, accessed April 13, 2015. http://imslp.org/wiki/Special:ReverseLookup/319922.
3
Rodolphe Kreutzer, Violin Concerto No.18 in E minor, “Lettre F.” (Offenbach sur le Mein: Jean André,
[1811?]), 1st mov., meas.1–4, accessed April 17, 2015. http://imslp.org/wiki/Special:ReverseLookup/101751.
4
Louis Spohr, Concerto No.1 in A major, Op.1. Edited by Herausgegeben Henri Petri. (Leipzig:
Volksausgabe Breitkopf & Härtel, [1900?]), 1 mov., meas.1–5, accessed April 18, 2015.
73
Example 4.5 Spohr, Violin Concerto No.11 in G major, Op.70
First Movement: Adagio, Allegro vivace, mm.19–31. 5
This type of dotted motif also appears in de Bériot’s concertos Nos.2 and 3; Vieuxtemps’ Nos.1
and 3; Joachim’s No.1; and Ernst’s Op.12, where the dotted ascending arpeggio reappears in
other instruments and becomes the basis of the primary theme in the first episode (Ex.4.6).

Example 4.7 Joachim, Violin Concerto No.1, Op.3, mm.30–33. 7
5
Louis Spohr, Violin Concerto No.11 in G major, Op.70. Edited by Ferdinand David and Friedrich
Hermann. (Leipzig: C. F. Peters, [1880?]), 1st mov., meas.19–31, accessed April 24, 2015.
6
G.Schirmer, 1921), 1st mov., meas.1–3, accessed April 10, 2015.
7
Joseph Joachim, Violin Concerto No.1, Op.3. (Leipzig: Breitkopf und Härtel, [1905?]), meas.30–33,
accessed May 1, 2015. http://imslp.org/wiki/Special:ReverseLookup/41960.
74
The following sub-phrase (m.4) in the first concerto of Wieniawski is characterized by
more active syncopated rhythm, later used for building up intense mood in the transitional
sections. The combination of two motives (M1, M2) in the transition (m.25) is vertically
juxtaposed with several instruments; the bassoon, trombone, and lower strings presenting M1;
horns, trumpets, and violas presenting M2; and brisk sixteenth-note harmonic supports in the
upper strings.

As Nowak notes that “the variation and not development technique is used to elaborate melodic
motifs,” 9 from the MC (m.37), the solo instruments of the clarinet, oboe, and horn reveal M1.

8
9
Henryk Wieniawski: Composer and Virtuoso in the Musical Culture of the 19th and 20th Centuries, edited by
Maciej Jabłoński and Danuta Jasińska. Translated by Piotr T. Żebrowski, (Poznan: Rhytmos, 2001), 110.
10
75
This caesura fill (m.37–42) articulates the gap between the first and second thematic area, while
recalling the initial impression of the motif. The diminution of the motif creates an impatient
feeling, with the expectation of the soloist entry; this occurs in the closing Animato section
(mm.67–72), linking to the powerful brilliant solo plays the motif in tenth against the orchestra.

The solo violin states the motif three times from m.73, after which abandons the motivic
idea to embellish the musical narration in the virtuosic manner. The main motif remains in the
same rhythmic configuration but in a varied manner in which a register transfer and dynamic
contrast take place (Example 4.11).

First Movement: Allegro moderato, mm.73–76 and 80–82. 12
Wieniawski's choice of instrumentation for the motivic and musical narration is
significant. As noted by Szymańska, “Thematic transformation begins as early as the orchestral
exposition (evolutionary development of the primary theme) and solo episodes, where each re-
11
12
Ibid., meas.73–76, 80–82.
76
appearance of the theme is different in terms of instrumentation, accompanying variations or
expression).” 13 The clarinet consistently initiates the motif at principle structural moments: the
beginning of the entire concerto; the transitional, m.37; MC, m.122, and coda, m.276. In
addition, although the flute is the only instrument that does not present the motif in the first
ritornello, it is later assigned the heroic opening of the second ritornello doubled by the first
violin. In Ritornello 2, with presenting multiple sequences of the motif, the lower strings are
enhanced by bassoons (m.205); trombones soon assist bassoon (m.209); a successive
combination of the lower strings, trombones, bassoons, clarinets, and second flute plunges the
main theme into the solo cadenza.
The sole cadenza at m.221, corresponding to the second episode section, also states the
main motif three times before the third episode presents the lyrical secondary theme.

First Movement: Allegro moderato, mm.221–26, 233–38, and 246. 14
13
14
NY: Carl Fischer, 1921), 1st mov., meas.221–26, 233–38, 246, accessed November 13, 2014,
77
The refrain based on the dotted-sixteenth and thirty-second-note in rondo movement is
significant in the development of virtuosic concerto genre. White describes the refrain of rondo
in Viotti’s concerto No.12, “The refrain […] attractive and lively, suffers a little from too much
use of dotted rhythm, a device Viotti has used rather sparingly in the immediately preceding
finales.” 15 Wieniawski returns to the dotted rhythmic motive for the rondo as seen in works of
Viotti, Kreutzer, Lipiński and Ernst (see Examples 4.13–20).

Third Movement: Rondo; Allegro giocoso, mm.13–6. 16
Example 4.14 Viotti, Concerto No.12 in B-flat major, Third Movement: Allegretto, mm.1–4. 17
Example 4.15 Kreutzer, Concerto No.10 in D minor, Third Movement: Rondeau, mm.60–65. 18
15
16
NY: Carl Fischer, 1921), 3rd mov., meas.13–6, accessed November 13, 2014,
17
Giovanni Battista Viotti, Violin Concerto No.12 in B-flat major. Edited by Lambert Massart. (Paris: A.
Cotelle, [1840?]), 3rd mov., meas.1–4, accessed April 2, 2015.
18
Rodolphe Kreutzer, Violin Concerto No.10 in D minor. (Paris: Maurice Schlesinger, n.d.), 3rd mov.,
meas.60–65, accessed April 11, 2015. http://imslp.org/wiki/Special:ReverseLookup/331775.
78
A substantial number of independent rondo or polonaise-based works by Lipiński and
Ernst use dotted-sixteenth and thirty-second-note refrains and episodes. The first and last two
measures of trio section in Lipiński’s Polonaises No.3, Op.9 offer a marked contrast to the
beginning of the opus conveying a large compass of bold and swift arpeggio playing. The
following fraction of the phrase within witty slurred-pattern in Wieniawski’s rondo recalls the
fragment in Lipiński’s Polonaises No.3, Op.9 (see Examples 4.19 and 20).

Third Movement: Rondo; Allegretto, mm.138–43. 19
Example 4.17 Ernst, Polonaise, Op.17, mm.32–35. 20
Example 4.18 Lipiński, Polonaises No.3, Op.9, Allegro con brio, mm.129–30. 21
Example 4.19 Lipiński, Polonaises No.3, Op.9, Allegro con brio, mm.113–15. 22
19
Karol Józef Lipiński, Concerto Militaire, Op.21. (Leipzig: Breitkopf & Härtel, [1891?]), 3rd mov.,
20
Heinrich Wilhelm Ernst, Polonaise de Concert, Op.17. (Vienna: Pietro Mechetti, [1842?]), meas.32–35,
accessed April 17, 2015. http://imslp.org/wiki/Special:ReverseLookup/92906.
21
Karol Józef Lipiński, 3 Polonaises, Op.9. (Leipzig: Breitkopf & Härtel, [1818?]. Accessed April 17,
2015. http://imslp.org/wiki/Special:ReverseLookup/282915.
22
79
The following lyrical B theme provides a marked contrast to the dotted refrain (Example 4.21).

The motivic development in the second concerto is more complex. Lehrer details how
the first theme in the truncated movement of the second concerto built through four motives: 1x,
1y, 1z, 1Ω. 25 I relabel these M1, M2, M3, and M4 (see Example 4.22).

23
NY: Carl Fischer, 1921), 3rd mov., meas.17–8, accessed November 13, 2014,
24
25
1990), 450.
26
Henri Wieniawski, Violin Concerto No.2 in D minor, Op.22. Edited by Henri Marteau. (Leipzig: C. F.
Peters, ca. 1930), 1st mov., meas.1–77, accessed October 5, 2013,
80
Compare to the more classical use of the motif development in the first concerto, the four
motives in the second concerto are manipulated liberally and enriched through the technique of
development. While the motives are articulated by particular instruments and interwoven with
the solo, they become more expressive and emotional. Jan Kleczyński, who saw Wieniawski on
his return concerto in Warsaw in 1870, perceived the change in the virtuoso’s performance style
as well: “[…] Formerly Mr. Wieniawski’s playing presented itself as a stormy, troubled ocean
wave, today his playing is calm and clear as a lake.” 27 According to Hammill, the solo entry of
Wieniawski’s second concerto marked dolce ma sotto voce (mm. 68–71) bears a resemblance of
the opening rhythm in Bériot’s Concerto No.4 (mm. 53–6); marked nobilmente. 28
According to Lehrer, “The sole Episode [solo exposition] contains three closing themes
(1k1, 1k3, and 2k3), each with subdivisions. This type of configuration for closing themes has
been met earlier in the concertos of Charles de Bériot.” 29 Table 4.1 attempts to reconcile
Lehrer’s review with my own (shown in curly brackets).
Table 4.1 Wieniawski, Concerto No.2, First Movement, mm.101–150 and 205–38
Three Closing Themes of the First Episode 30
Closing themes Measure Tonality Comments

1k1[a] 101 i Sequence on 1z {Vn I}
1k1[b] 110 i Extension; 1x, 1y {string  solo+w.w.}, 1z {?}
1k3[a] 116 i to III Diminution; 1z,{solo} 1x, 1y {string}
1k3[b] 127 III Double stops; 1y {Cl.}
1k3[c] 139 {–150} III 1Ω; 2x {1x, 1y, ST=Fl.}
2k1 205 III Figuration: {double stops} & chromatic descending scale
2k2 213 III Figuration: {chromatic tetrachord scale} & staccato
2k3[a] 221 III Figuration: arpeggios {solo}; 1z {Vn I}
2k3[b] 228{226} III Figuration: octave leaps, {cadential trill}, {solo}
27
Edmund Grabkowski, “Henryk Wieniawski (1835 - 1880), Life and Creation,”
http://www.wieniawski.com/, accessed March 14, 2015, http://www.wieniawski.com/life_and_creation.html.
28
Study” (diss., Louisiana State University and Agricultural ad Mechanical College, 1994), 118.
29
1990), 449–50.
30
Ibid., 449 – 50.
81
I have not found evidence of Lehrer’s motive 1z corresponding to M3 at m.110.
As Kreutzer’s concerto No.18 uses of alternate presentation of the two contrasting themes
(PT ST PT ST PT), Table 4.2 details the solo exposition and compares the thematic relationships
according to Szymańska and myself. Szymańska holds that “The pattern of the concerto’s first
movement differs from the sonata form only in the alternating sequence of the themes […] this is
built on the principle of contrasting cantilena with figurative fragments. The material is arranged
in a characteristically alternating fashion.” 31 Szymańska finds that the combination of both
expositional and developmental sections can be regarded as two discrete parts based on two
thematic presentations within a continuous structure.
Table 4.2 Motivic Arrangement according to Szymańska 32 and Bae
Szymańska Macro-form Exposition and development of the Exposition and development of the second
first theme theme
Tutti/solo Solo & tutti solo Solo & tutti solo

Micro-form T1+Ł T1 T2+T1 T2
Key d+g Mod. F+d F
Periods [(a2+a2)+a1]+[c e+e1]+[a3] [(b1+b1)]+[a2] [f + g+g1]
A + B + A C + A + D
Bae Measure 68 115 138 157 173 188 205 221
Tonality d Mod. F d F
Thematic A B A B A
material
Subsection A A’ A+B B(both) A+B B’ Real A’
(Fl.,m. (Ob., (Vn I) D.E Epilogue
144, m.184)
150)
Feature PT–based PT– PT + ST– PT + ST– Episo PT–based
based ST based ST based de
Cadence d: PAC E7 F: IAC D:V F: IAC F: IAC F:PAC
31
32
Ibid., 91
82
Referring to Lehrer’s Romantic French concerto form as an abbreviated version of the ritornello,
“It was subsequently developed in concertos by Vieuxtemps (no. 2, 1836) […] and Bériot (nos.6,
7, 9 and 10, 1849–1858). Since these compositions reflect a general move towards a motivic
unification of the form, Lehrer’s notion is not entirely groundless.” 33 Whether this movement is
considered as a ritornello or sonata form, Wieniawski avoided clear qualitative separation
between the primary and secondary themes. Rather, a cyclical concept, alternating two themes––
one consisting of four motives and the other recurring in the later movement in succession––
provides structure, and is developed in both solo and orchestra parts simultaneously. The second
theme as a recurring motif is worked out of the entire concerto. It also attracts a great deal of
attention played against the countering chromatic ascending scale (see Examples 4.23 and 24).

First Movement: Allegro moderato, mm.11–16, Recurring Motif. 34

First Movement: Allegro moderato, mm.11–16, Counter Motif. 35
Besides Ernst’s Concerto Pathétique built from the motivic coherence, Joachim in his
early concerto Op.3 (1851) likewise attempts unity through constant motivic saturation. An
earmark of the recurring motif in Wieniawski’s Op.22 recalls the rhythmic motif in Joachim’s
Violin Concerto in D minor, Op.11 (1857) (see Examples 4.23, 25 and 26).
33
34
Henri Wieniawski, Violin Concerto No.2, Op.22 (Mainz: B. Schott's Söhne, [1879?]), 1st mov., meas.11–
16, accessed April 27, 2015, http://imslp.org/wiki/Special:ReverseLookup/234257.
35
Ibid.
83
First Movement: Allegro un poco maestoso, mm.78–82, Secondary Motif. 36

First Movement: Allegro un poco maestoso, mm.187–95, Secondary Motif. 37
In Joachim’s Op.11, the secondary lyrical theme (ST) is usually succeeded by Hungarian
syncopated rhythmic motif combined with triplet accompaniment (TT). The second episode
begins with imitating the first recitativo solo entrance. The harmonic manipulation of primary
motif in cadenza-like style second episode recalls Wieniawski’s first concerto.
36
Joseph Joachim, Violin Concerto No.2, Op.11 (Leipzig: Breitkopf und Härtel, [1910?]), 1st mov.,
meas.78–82, accessed May 1, 2015, http://imslp.org/wiki/Special:ReverseLookup/199046.
37
84
Table 4.3 Motivic Arrangement in Joachim, Concerto in G minor, Op.3 (1851) 38
Section Intro R1 S1 MCS1 R2

Measure 1– 9– 39– 104– 140– 166– 173– 187– 191– 195–
Motif PT PT PT ST TT ST PT ST + TT PT
(syncopation
+ triplet)
Part tutti tutti tutti tutti tutti (triplet), tutti tutti tutti tutti tutti
solo solo solo solo
tutti (syncopation)
Section S2 MCS2 R3 S3
Measure 207– 246– 254– 274– 282– 290– 305– 325– 345– 380–
Motif PT ST + TT PT ST + TT PT TT  PT PT ST PT
NEW
Part solo tutti tutti tutti tutti tutti tutti solo solo solo
tutti solo tutti
solo solo
In Wieniawski’s Op.22, the recurring motif from the second theme plays a more
important role than the first theme throughout the concerto as all the episode sections in the last
movement present the recurring motif. Szymańska observes that in m.254–57, “the motifs,
transformed through variations and contrapuntally juxtaposed, are supported by a characteristic
accompaniment of the first theme.” 39 The recurring motif based on a triplet followed by a half
note recurs in the last movement (see Examples 4.27–28).
Example 4.27 Wieniawski, Concerto No.2, Op.22, First Movement: Allegro moderato
mm.254–57, Recurring Motif Juxtaposed with the Theme. 40
38
Joachim, Joseph. Violin Concerto No.1, Op.3. Leipzig: Breitkopf und Härtel, [1905?]. Accessed May 1,
39
40
85
Similar technical devices used by Wieniawski and Joachim present a rapid succession of
sixteenth-note refrains emphasizing double-stops in thirds, sixths embellished with grace notes.
The Joyful and energetic rollicking third theme in section ‘C’ later combines with the recurring
motif at m.194 in à la Zingara of Wieniawski’s concerto (see Examples 4.28 and 4.29).
Example 4.28 Wieniawski, Concerto No.2 in D minor, Op.22,

Third Movement: Allegro con fuoco – Allegro moderato (à la Zingara),
mm.193–98, Rollicking Third Theme Combined with Recurring Motif. 41
Example 4.29 Joachim, Concerto No.2 in D minor, Op.11, Third Movement

Finale alla Zingara, mm.282–89, Rollicking Theme. 42
Overall, the manipulation of the chief motivic figuration serves as an interlinking device
which makes the entire second concerto of Wieniawski cohesive.
41
Henri Wieniawski, Violin Concerto No.2, Op.22 (Mainz: B. Schott's Söhne, [1879?]), 3rd mov.,
42
Joseph Joachim, Violin Concerto No.2, Op.11. (Leipzig: Breitkopf und Härtel, [1910?]), 3rd mov.,
meas.282–89, accessed May 1, 2015. http://imslp.org/wiki/Special:ReverseLookup/199046.
86
Harmonic Arrangement
The change in harmonic structures and use of chromatic progression in the two concertos
show interesting developments in Wieniawski’s style. The first concerto is in F-sharp minor;
although a rarely used key for orchestra works, it is also the key of contemporary virtuosic pieces
such as Vieuxtemps’ Violin Concerto No.2, Op.19 (1836) and Ernst’s Concerto Pathétique
(1844). Wieniawski’s first concerto has a conservative harmonic structure, dependent on
predictable harmonic changes emphasizing the secondary dominant function (see Table 4.4).
The second concerto freely explores a variety of harmonies, to the extent that harmonic sense is
lost in the second theme (see Table 4.5).

Themes and Harmonic Arrangement 43
R1 E1 R2 E2  E3 R4
Orchestra PT PT (sequence) Accompaniment End of coda
TR TR (voice exchange/ at m.303
MC(CF) new orchestration)
ST Viola, cello
C flute, bassoon,
Solo PT PT–based ST (parallel to the 2nd PT (coda)
PT1 Cadenza half of S1)
ST Episode
TR
Harmonic i i IIIIVVVI IIVVIi I (tonal resolution) i
plan I V/III VIIIII II i
(F-sharp V/IV III V-lock
minor) IV
I
43
Kalmus, Co., ca.1990’s), 1–45.
87
Themes and Harmonic Arrangement 44
Exposition Exposition Development

Orchestra PTST PT (sequence)
PTST + ST (Juxtapose)
PTC  TR
Solo PT  TR  ST
Harmonic plan i III i  ii  III IIIiv

(D-minor) i VI III + vi (m.253)
i  iv bIIV-lock VI  ii/VI(Cm)  iv(Gm)VI
The first ritornelli in both concerti present contrasting themes creating two harmonic
pillars; this is functionally equivalent to the tradition of setting the second theme in the dominant,
although the secondary themes are in the major subdominant and major mediant, respectively.
Wieniawski’s tonal arrangement for E1, (mm.73–193 in Table 4.4) is prefigured by the harmonic
procedure in the first episode of de Bériot’s minor-key Classical Style Type I and II concertos
[Nos.2 in B minor (1835), 3 in E minor (c.1843), and 4 in D minor (1844)]. 45 The first episode
of Wieniawski’s Op.14, spanning almost two fifths of the movement’s length, recalls the
harmonic progression of i  V/III  III in de Bériot’s concerto No.4 (see Table 4.6).
Table 4.6 Sections of de Bériot’s Concerto No.4 in D minor, Op.46 (1844)
Section R1 S1 R2 S2  S3 R4
Tonality iVIVi iV/IIIIII IIIV/III IIIIVIIIIV/V IviV I
The key of D minor, attributing to the Wieniawski’s second concerto, has been embodied
in Viotti’s Concerto No.17, Rode’s Concerto No.1, and Kreutzer’s Concertos Nos.8, 10, and 19.
44
45
1990), 304–5, 309–10, 322–23.
88
Lehrer gives interesting aspects of Kreutzer’s violin concerto, Lettre G, (No.19), as the tonal
shift from the first to second theme in Ritornello I is to F major rather than to I [D major], the
parallel major. 46 Rode also shifts from minor-key first themes to relative major-key second
themes in his concertos Nos.1, 7, and 10. Likewise, Wieniawski moves to F major for the first
appearance of the second theme (m.9).
The middle movement of Wieniawski’s Op.14 is in A major. This mediant-key
relationship between the movements is also found in Rode’s seventh concerto; A-minor, the first
movement; C-major, the second movement; and A-minor, the Rondo as well as in Kreutzer,
No.19 in D minor, Lettre G. Table 4.7 reviews the similar inner harmonic plans arranged in
rondos of Rode’s concerto No.7 and Wieniawski’s No.1.
Table 4.7 Harmonic Plans in Rondos: Rode, No.7 47 and Wieniawski, No.1
Rode Section Refrain I Couplet I Refrain II Couplet II Refrain III

Tonality iVi III?  i i IVIi iVi
Wieniawski Section A B a b Coda
Tonality iIIIi IV? V iI I i
The Romance of Wieniawski’s second concerto goes back to the design of de Bériot’s.
The key of the Romance is in B-flat. Lehrer says that “The key chosen by him for each of these
central movements [in concertos Nos.2, 3, and 8] is a third below that of the outer fast ones: the
manipulating of the relationship of the third was of major importance to Romantic composers.” 48
46
1990), 156.
47
Pierre Rode, Violin Concerto No.7, Op.9, ed. Ferdinand David and Henry Schradieck (New York: G.
Schirmer, 1899), 3rd mov., accessed April 24, 2015, http://imslp.org/wiki/Special:ReverseLookup/183926.
48
Ibid., 303.
89
This key relationship between movements is also found in Mendelssohn’s Violin Concerto in E
minor, Op.64 (1844); C major for its slow movement recalling the identical harmonic plan found
in Bériot’s third concerto (ca.1843).
As shown in Example 4.30, the second movement of Wieniawski’s Romance employs
succession of isolated chords for dramatic effects in the middle section (mm.27–31): bIII (Db) 
C-fully-diminished  Db  E  B  E  G  D.

Second Movement: Romance, mm.27–34, Middle Section. 49
The use of Neapolitan chord, bII, moves to iv6 in B-flat at m.44 which concludes the
dramatic section and brings back to the restatement of the original theme in the first violin and
cello (see Example 4.31).
Henri Wieniawski, Violin Concerto No.2, Op. 22 (Mainz: B. Schott's Söhne, [1879?]), 2nd mov.,
49
90
Second Movement: Romance, mm.41–50, Neapolitan Chords. 50
The use of chromatic progression is greatly different between two concertos. In the
first concerto, chromatic progression is a kind of surface-level virtuosic display: “Chromatic
tonal modulations are employed for sentimental effects.” 51 While the second movement
Preghiera, attractively stresses the chromatic motion in the bass, Wieniawski primarily uses
chromaticism to create virtuosic display in the episode section with parallel chromatic motion,
revealing several fully diminished chords right before the cadential trill to the EEC in the first
movement (Example 4.32). The chromatic descending lines in the third movement demand
attention of the end of B section (mm.139–147), preparing for the restless string sequences of the
Rondo episode from m.148 (see Example 4.34).
50
Henri Wieniawski, Violin Concerto No.2, Op.22 (Mainz: B. Schott's Söhne, [1879?]), 2nd mov.,
51
Burnett R Toskey, Concertos for Violin and Viola: a Comprehensive Encyclopedia. (Seattle, Wa:
Cleaning Consultant Service, 1983), 915.
91
First Movement: Allegro moderato, mm.183–86, Chromatic Progression. 52

Second Movement: Preghiera; Larghetto, mm. 22–24, Chromatic Contour. 53

Third Movement: Rondo, mm.139–42, Chromatic Contour. 54
In the second concerto, Wieniawski applies a different style of chromatic progression.
Chromaticism comes more to the forefront of the musical material. The most distinctive
52
NY: Carl Fischer, 1921), 1st mov., meas.183–86, accessed November 13, 2013.
53
Ibid., 2nd mov., meas.22–24.
54
Ibid., 3rd mov., meas.139–42.
92
ascending chromatic line serves as a counter melody of the passionate second theme within
contrary motion, in the first and third movements (Examples 4.35–4.36). Instead of a succession
of parallel chromatic motion, the recurring motif combines with counter ascending chromatic
scale in contrary motion in the second concerto.
Example 4.35 Wieniawski, Concerto No.2 in D minor, Op.22

First Movement: Allegro moderato, mm.169–70, Chromatic Contour. 55

Third Movement: à la Zingara, mm.105–9, Chromatic Contour. 56
It is intriguing to review the harmonic arrangement of the last movements of Joachim’s
Finale alla Zingara and Wieniawksi’s à la Zingara. Each drives through the keys of E-flat, B-
flat major, and wraps up in the parallel major key. “Section D [of Joachim], a rather large
55
56
93
middle part, contains a mellifluous theme (meas.282) in the sub-mediant major key; and a fiery
Presto concludes the movement,” 57 whereas Wieniawski in the middle section at m.178 brings
the brilliancy of the parallel major key.
Table 4.8 Comparison of Two Finales: Joachim, Concerto No.2 and Wieniawski, No.2
Joachim’s Finale alla Zingara (1857) 58 Wieniawski’s à la Zingara (1862)

Section Measure Feature Tonality Section Measure Feature Tonality
Intro 1 – 14 Allegro Intro 1 – 15 Allegro Dm
con fuoco
A 15 – 31 A Dm 15 – 36 Cadenza
31 – 72 Modulatory A 37 – 78 A à la Dm
 EbM Zingara
73 – 97 A (tutti) Modulatory 79 – 100 A (tutti) Modulatory

B 98 – 167 B FM B 101 – 134 B EbM
C 168 – 212 C Ab, Db, FM A 135 – 177 A’ Modulatory
 Dm
A 212 – 242 A Dm C 178 – 217 C DM
243 – 281 A (tutti)  BbM
D 282 – 394 D BbM A 218 – 243 A’ (tutti) Bb  EbM
A 395 – 442 A’ Dm B 244 – 275 B’ BbM
B 443 – 518 B’ DM A 276 – 315 A Dm
C 519 – 574 C DM C 316 – 343 C DM
Coda 575 – 687 Presto DM Coda 344 – 370 A tempo DM
(A-based) (A – based)
Overall, the harmonic design and chromatic progressions of Wieniawski’s first concerto
relate back to the established style from early concertos, whereas those of the second concerto,
equipped with Neapolitan harmony and juxtaposed the recurring motif with counter chromatic
melodies, advance towards the Romantic idiom.
57
1973), 86.
Joseph Joachim, Violin Concerto No.2, Op.11. (Leipzig: Breitkopf und Härtel, [1910?]), 3rd mov.,
58
94
Chapter 5
Technical Aspects
This chapter considers the technical aspects of Wieniawski’s concertos as well as other
contemporary virtuosic concertos. Tyrone Greive pays particular attention to the technical merit
of Wieniawski’s Violin Concerto No.1, in which the “bravura writing not only parallels
Paganini’s style but also makes the music ideal in developing a virtuoso facility within an artistry
building setting.” 1 Wieniawski emphasizes virtuosic techniques including scale runs, double-
stopping, chains of trills, large leaps, staccato, and whipping bow. These same techniques
appear in the second concerto as well; however, they are employed in a more controlled manner
to highlight the expressiveness of the thematic presentation.
Scales
Scales are one of the most powerful devices available for composers to showcase
virtuoso technique. In Wieniawski’s Op.14, the ascending scale plays an important role by
lending the idea of the structural design. The EEC in the first movement is approached by a
succession of demanding of ascending scales in thirds and sixths (Example 5.1). Nowak
compares the second concerto’s stylistic singularity with pure technical aspects of the first
concerto, expressiveness and dramatic structure over mere technique is emphasized. 2 The scale
figures in à la Zingara are standard but effective, articulating the cadences between sections.
The final movements of several virtuosic concertos by Paganini, Mendelssohn, Bruch, Brahms,
and Tchaikovsky exploit the diatonic ascending scale, connecting to the restatement of the
1
Tyrone Greive, “Henryk Wieniawski's Enduring Legacy.” American String Teachers Association 62, No.
4 (Nov 2012): 33–34.
2
Henryk Wieniawski: Composer and Virtuoso in the Musical Culture of the 19th and 20th Centuries, edited by
Maciej Jabłoński and Danuta Jasińska. Translated by Piotr T. Żebrowski, 103–114. (Poznan: Rhytmos, 2001), 110.
95
previous themes, introducing a new theme or wrapping up the entire concerto. Brahms winds up
his monumental symphonic Concerto in D major, Op.77 with a rapid three-octave ascending
scale (see Examples 5.1–7).

First Movement: Allegro moderato, mm.187–93, Ascending Scale. 3

Third Movement: à la Zingara, mm.313–16, Ascending Scale. 4

First Movement: Allegro maestoso, mm.141–43, Ascending Scale. 5
3
Henri Wieniawski, Violin Concerto No.1 in F-sharp minor, Op.14. Edited by Leopold Auer. (New York:
Carl Fischer, 1921), 1st mov., meas. 187–93, accessed May 1, 2015.
4
Henri Wieniawski, Violin Concerto No.2 in D minor, Op. 22 (Mainz: B. Schott's Söhne, [1879?]), 3rd
5
Niccolò Paganini, Violin Concerto No.1 Op.6. Edited by Jean Becker. (Leipzig: C. F. Peters, [1880?]), 1st
mov., meas.141–43, accessed May 3, 2015. http://imslp.org/wiki/Special:ReverseLookup/254970.
96
Third Movement: Allegro molto vivace, mm.53–55, Scale. 6
Example 5.5 Bruch, Violin Concerto in G minor, Op.26

Third Movement: Finale; Allegro energico, mm.160–62, Scale. 7

Third Movement: Finale; Allegro vivacissimo, mm.140–45, Scale. 8
6
Felix Mendelsohn, Violin Concerto in E minor, Op.64. Edited by Leopold Auer. (New York: Carl Fischer,
1917), 3rd mov., meas.53–55, accessed May 3, 2015. http://imslp.org/wiki/Special:ReverseLookup/246438.
7
Max Bruch, Violin Concerto in G minor, Op.26. (New York: Carl Fischer, 1906), 3rd mov., meas.160–62,
8
Pyotr Ilyich Tchaikovsky, Violin Concerto in D major, Op.35. Edited by Leopold Auer. (Leipzig: D.
Rahter, 1899), 3rd mov., meas.140–45, accessed May 1, 2015. http://imslp.org/wiki/Special:ReverseLookup/84757.
97
Example 5.7 Brahms, Violin Concerto in D major, Op.77, Third Movement:
Allegro giocoso, ma non troppo vivace – Poco più presto, mm.337–39, Scale. 9
There are many examples in which a chromatic ascending scale, appearing usually with
an orchestral pause, serves as a bridge to return to the main theme (Examples 5.8–11).

Third Movement, à la Zingara, mm.57–62, Ascending Chromatic Scale. 10
Example 5.9 Joachim, Andantino und Allegro Scherzoso

Allegro scherzoso e vivace, p.8–9, Ascending Chromatic Scale. 11

First Movement: Allegro moderato, mm.40–42, Ascending Chromatic Scale. 12
9
Johannes Brahms, Violin Concerto in D major, Op.77. (Berlin: N. Simrock, 1879), 3rd mov., meas.337–
39, accessed May 1, 2015. http://imslp.org/wiki/Special:ReverseLookup/208345.
10
11
Joachim, Joseph. Andantino und Allegro Scherzoso, Op.1. (Leipzig: Fr. Kistner, [1849?]), 8–9, accessed
May 1, 2015. http://imslp.org/wiki/Special:ReverseLookup/80477.
12
Rahter, 1899), 1st mov., meas.40–42, accessed May 3, 2015. http://imslp.org/wiki/Special:ReverseLookup/84757.
98
Third Movement: Allegro vivacissimo, mm.239–43, Chromatic Passages. 13
In the case of chromatic descending scale, often a single finger slides into a lower
position on one string occur. This technique imitates the sound of laughter and exhibit a ‘gypsy’
character. Many works by Vieuxtemps and Joachim include this technique; a considerable
portion of D-minor concerto in the Hungarian manner uses the chromatic scale to show both
virtuosity and a ‘gypsy’ style (see Examples 5.12–16).

First Movement: Allegro moderato, mm.117, Chromatic Descending Scale. 14
Example 5.13 Paganini, Concerto No.1, Op.6, First Movement: Allegro maestoso
mm.254–55, Chromatic Descending Scale. 15
13
Rahter, 1899), 3rd mov., meas.239–43, accessed May 3, 2015. http://imslp.org/wiki/Special:ReverseLookup/84757.
14
Carl Fischer, 1921), 1st mov., meas.117, accessed May 1, 2015.
15
Niccolò Paganini, Violin Concerto No.1 Op.6. Edited by Jean Becker. (Leipzig: C. F. Peters, [1880?]),
1st mov., meas.254 – 5, accessed May 3, 2015. http://imslp.org/wiki/Special:ReverseLookup/254970.
99
Example 5.14 Wieniawski, Concerto No.2, Op.22, First Movement:
Allegro moderato, mm.207–9, Chromatic Descending Scale. 16
Example 5.15 Joachim, Violin Concerto No.2, Op.11, First Movement: Allegro un poco
maestoso, mm.231–2 and 519–22, Chromatic Descending Scale. 17
Example 5.16 Wieniawski, Concerto No.2, Op. 22, à la Zingara, mm.343–49

Chromatic Descending Scale. 18
Example 5.16 shows a most brilliant and conspicuous section in Wieniawski’s second concerto,
with the solo’s double-stop, chromatic descending-line in octaves, with dotted rhythm assisted by
the dominant pedal point.
16
17
meas.231–2, and 519–22, accessed May 1, 2015, http://imslp.org/wiki/Special:ReverseLookup/199046.
18
100
Arpeggios
G-sharp major arpeggios, and their A-flat enharmonic equivalents, are shown here in
works by Wieniawski, Ernst, and Saint-Saëns. The top note landing on G-sharp often takes
advantage of the instrument’s natural harmonics (Examples 5.17–19).
Example 5.17 Wieniawski, Concerto No.1, Op.14, First Movement:

Allegro moderato, mm.84–85, Ascending Arpeggio. 19
Example 5.18 Ernst, Violin Concerto Pathétique, Op.23,

Allegro moderato, mm.235–36, Ascending Arpeggio. 20
Example 5.19 Saint-Saëns, Havanaise, Op. 83

Allegretto e lusinghiero, mm.48–49, Ascending Arpeggio. 21
Multiple Stoppings
Wieniawski’s first concerto occasionally has parallel left hand motion in thirds, sixths
and octaves; in the second concerto, these are effectively combined with bowing technique. The
19
Carl Fischer, 1921), 1st mov., meas.84–5, accessed May 1, 2015.
20
Heinrich Wilhelm Ernst, Violin Concerto ‘Pathétique’, Op.23. (Leipzig: Breitkopf & Härtel, [1851?]),
21
Camille Saint-Saën, Havanaise, Op.83. Edited by Charles Martin Loeffler. (Boston: Boston Music Co,
[1916]), meas.48–9, accessed May 2, 2015. http://imslp.org/wiki/Special:ReverseLookup/80284.
101
second concerto also employs double stops to efficiently express the thematic content (see
Examples 5.20–21).

First Movement: Allegro moderato, mm.159–60, Triple Stops. 22

First Movement: Allegro moderato, mm.201–3, Double Stops. 23

First Movement: Allegro Moderato, mm.120–3, Triple Stops. 24
Example 5.23 Ernst, Polonaise, Op.17, mm.351–56, Triple Stops. 25
22
23
Henri Wieniawski, Violin Concerto No.2 in D minor, Op.22 (Mainz: B. Schott's Söhne, [1879?]), 1st
24
G.Schirmer, 1921), 1st mov., meas.120–3, accessed April 10, 2015.
25
Heinrich Wilhelm Ernst, Polonaise, Op.17. (Vienna: Pietro Mechetti, [1842?]), meas.120–3, accessed
102
Example 5.24 Wieniawski, Concerto No.1, Op. 14
First Movement: Allegro moderato, mm.285–88, Double Stops in Octaves. 26

Allegro moderato, mm.440–42, Double Stops in Octave. 27
Example 5.26 Sibelius, Violin Concerto in D minor, Op.47

Allegro moderato, mm.490–93, Double Stops in Octave. 28
In many compositions, Ernst’s usage of the triple stops in polyphonic manner is closely affiliated
to Wieniawski’s execution in the first concerto, notably in the use of open string (Examples
5.22–23). Examples 5.24–26 show comparable downward leaps doubled in octaves utilized by
Wieniawski, Ernst, and Sibelius.
26
27
Heinrich Wilhelm Ernst, Violin Concerto ‘Pathétique’, Op.23. (Leipzig: Breitkopf & Härtel, [1851?]),
28
Jean Sibelius, Violin Concerto in D minor, Op. 47. (Berlin: Schlesinger, 1905), meas.490–93, accessed
103
Trills
Trills are very notable for how Wieniawski uses them to illuminate the gap between
sections; this changes dramatically between the two concertos. The first concerto is clearly
modeled on Paganini and Vieuxtemps (review Ex.5.1), and the cadences of first episode and
third episode in the first movement at m.191 and m.301 are approached by four-octave trills
similar to Paganini's at the end of the expositions in his concertos Nos.1 and 2. Meanwhile,
stepwise trills are employed for the solo cadence in the second concerto (Example 5.27).

First Movement: Allegro moderato, mm.234–38, Cadential Trill. 29

First Movement: Allegro maestoso, mm.195–98, Cadential Trill. 30

Third Movement: Rondo; Allegro spirituoso, mm.454–58, Cadential Trill. 31
29
30
Niccolò Paganini, Violin Concerto No.1 Op.6. Edited by Carl Flesch. (Leipzig: Edition Peters, [1913?]),
3rd mov., meas.195–98, accessed May 3, 2015. http://imslp.org/wiki/Special:ReverseLookup/170331.
31
104
Example 5.30 Vieuxtemps, Violin Concerto No.1 in E major, Op.10
First Movement: Allegro moderato, mm.241–44, Cadential Trill. 32

First Movement: Allegro marziale, mm.349–54, Cadential Trill. 33
It is a well-established treatment to restate the main theme in the orchestra close to the
end of episodes, while the solo trilling on the dominant scale degree. As shown in Example
5.32–33, “A long trill series in the [first movement of Joachim’s Hungarian Concerto] (meas.
303–310) is complemented by an essential motive in the orchestra, and reminds us of a similar
passage in the Beethoven Violin Concerto, Op. 61 at meas. 205–216) in Allegro ma non
troppo.” 34
Example 5.32 Beethoven, Violin Concerto in D major, Op. 61, Allegro, ma non troppo
mm.416–21 and 487–90, Trills with the Theme. 35
32
Henri Vieuxtemps, Violin Concerto No.1 in E major, Op.10. Edited by Theodore Spiering. (New York:
Carl Fischer, 1916), 1st mov., meas.241–44, accessed April 21, 2015.
33
Karol Józef Lipiński, Concerto Militaire, Op.21. (Leipzig: Breitkopf & Härtel, [1891?]), 1st mov.,
34
Benjamin F Swalin, The Violin Concerto: a Study in German Romanticism,. (New York: Da Capo Press,
1973), 86.
35
Ludwiig van Beethoven, Violin Concerto in D major, Op. 61. Edited by Leopold Auer. (New York: Carl
Fischer, 1917), 1st mov., meas.416–21 and 487–90, accessed May 3, 2015.
105
Example 5.33 Joachim, Violin Concerto No.2, Op.11, Allegro un poco maestoso
mm.308–11, Trills with the Theme. 36
When the flute restates the refrain at m.276 in à la Zingara, the solo violin’s trills function as
dominant lock (see Example 5.34), and this technique is also heard in other famous romantic
concertos by Bruch, Tchaikovsky, and Sibelius.
Example 5.34 Wieniawski, Concerto No.2, Op.22, à la Zingara

mm.278–84, Trills with the Refrain. 37
Large Leaps
Franz Lechner, a composer and conductor who performed with Wieniawski, stated that
“Henryk Wieniawski has forced the critics to accept that his technique in its noble style, and
including those demonic leaps which so amazed his audience, not only equals that of the once-
36
meas.308–11, accessed May 1, 2015, http://imslp.org/wiki/Special:ReverseLookup/199046.
37
106
idolized Paganini, but even offers us some new sounds.” 38 The more brilliant style of the first
concerto, recalling works by Paganini and Ernst, is evident in extreme jumps of two-octave leaps
performed quickly. Conversely, the second concerto avoids large leaps, using them only when
they aid expression.
Example 5.35 Wieniawski, Polonaise de Concert, Op.4

Allegro maestoso, mm.9–11, Leaps. 39
Example 5.36 Wieniawski, Concerto No.1, Op. 14

First Movement: Allegro moderato, m.154, Leaps. 40
Example 5.37 Paganini, Violin Concerto No.1, Op. 6

Third Movement: Rondo; Allegro spirituoso, mm.462–64, Leaps. 41
Example 5.38 Ernst, Rondo Papageno, Op.20, Allegretto, mm.138–40 and 203–4, Leaps 42
38
Edmund Grabkowski, Henryk Wieniawski. (Warsaw: Interpress, 1986), 29.
39
Henri Wieniawski, Polonaise de Concert, Op.4. Edited by August Wilhelmj. (London:Schott, n.d.),
meas.9–11, accessed March 24, 2015. http://imslp.org/wiki/Special:ReverseLookup/87735.
40
Carl Fischer, 1921), 1st mov., meas.154, accessed May 1, 2015.
41
Niccolò Paganini, Violin Concerto No.1 Op.6. Edited by Carl Flesch. (Leipzig: Edition Peters, [1913?]),
42
Heinrich Wilhelm Ernst, Rondo Papageno, Op.20. (Vienna: H. F. Müller, n.d.), meas.138–40 and 203–4,
accessed April 10, 2015. http://imslp.org/wiki/Special:ReverseLookup/35303.
107
Staccato
Wieniawski is most well-known for his excellent staccato technique, using a stiff but very
effective bow grip that later influenced the “Russian bow-grip which produces a rich, intense and
thrilling tone in high passages.” 43 As with other techniques, Wieniawski’s first concerto takes
advantage of demanding staccato, whereas the second concerto embraces a more customary
staccato. Example 5.39 illustrates 55 consecutive slurred staccatos in the first concerto, which
should be played in an extremely fast tempo. Example 5.40 shows an ordinary sequence of rapid
steady martelé staccato strokes in an up-bow (m.221) in the second concerto.

First Movement: Allegro moderato, mm.119–26, Staccatos. 44

43
Andrew Clements, “The Violin Concerto.” In The Book of the Violin, edited by Dominic Gill, 158–71.
(New York, NY: Rizzoli International, 1984),139.
44
45
Henri Wieniawski, Violin Concerto No. 2, Op. 22 (Mainz: B. Schott's Söhne, [1879?]), 1st mov.,
108
It was de Bériot who extensively favored in employing staccato in his early concertos.
Either ascending or descending scale on a pause or simple supportive accompaniment is
allocated in many other virtuoso concertos including Paganini and Vieuxtemps (see Examples
5.41–5.45).

Allegro maestoso, mm.95–97, Staccatos. 46

First Movement: Moderato, mm.170–2, Staccatos 47

Allegro moderato maestoso, mm.89–91, Staccatos. 48

Third Movement: Rondo; Allegro spirituoso, mm.158–62, Staccatos. 49
46
Charles-Auguste de Bériot, Violin Concerto No.2, Op.32. (Mainz: B. Schott’s Söhne, [1840?]), 1st mov.,
47
Charles-Auguste de Bériot, Violin Concerto No.3, Op.44. Arranged by Friedrich Hermann. (Leipzig: C.
F. Peters, n.d.), 1st mov., meas.170–2, accessed April 10, 2015. http://imslp.org/wiki/Special:ReverseLookup/95610.
48
Charles-Auguste de Bériot, Violin Concerto No.4, Op.46. Edited by Friedrich Hermann. (Leipzig: C. F.
Peters, [1901?]), meas.89–91, accessed March 15, 2015. http://imslp.org/wiki/Special:ReverseLookup/201504.
49
Niccolò Paganini, Violin Concerto No.1 Op. 6. Edited by Carl Flesch. (Leipzig: Edition Peters, [1913?]),
109
Example 5.45 Vieuxtemps, Violin Concerto No.1, Op.10
Whipped bow
One of the most distinctive techniques for compelling acoustic effect is generated by the
whipped bow stroke that Wieniawski favors in both concertos. In the first concerto, the stroke is
used with a natural downbeat accent, resembling the ending of the first solo section in
Mendelssohn’s concerto Op.64. The Violinst’s Lexicon vividly describes the bow stroke:
This difficult, but exceedingly brilliant, bowing is performed at the point of the bow, in
the up-stroke. The bow is lifted, for every up-stroke, and brought down on the string with
great force, not near, but directly at, the point. 51

First Movement: Allegro moderato, mm.175–76, Whipped Bow. 52

First Movement: Allegro, molto appassionato, mm.43–7, Whipped Bow. 53
50
Henri Vieuxtemps, Violin Concerto No.1 in E major, Op.10. Edited by Theodore Spiering. (New York:
Carl Fischer, 1916), 1st mov., meas.221–22, accessed April 21, 2015.
51
George Lehmann, The Violinist's Lexicon. (New York: The Bartel Publishing Co., 1917), 88.
52
Carl Fischer, 1921), 1st mov., meas.175–6 , accessed May 1, 2015.
53
Felix Mendelsohn, Violin Concerto in E minor, Op.64. Edited by Leopold Auer. (New York: Carl
Fischer, 1917), 1st mov., meas.43–7, accessed May 3, 2015. http://imslp.org/wiki/Special:ReverseLookup/246438.
110
Using the middle part of the bow results in a more detached sound; in the second concerto, this
gives stronger accents to the syncopation. It often stresses the fifth scale degree and generates
tension between the bass and orchestra’s ascending line on a sustained I6/4 chord.

First Movement: Allegro moderato, mm.224–26, Accents on Up-Bow. 54
Example 5.49 Joachim, Concerto No.2 in D minor, Op.22

Finale Alla Zingara: Allegro, mm.645–47, Accents on Up-Bow. 55
Overall, a number of idiomatic violin writings including scales, arpeggios, multiple
stoppings, chains of trills, large leaps, staccato and whipped bow are significant to distinguish
between the soloist’s techniques in two concertos. While the first relies on the more brilliant
virtuosic techniques, the second highlights the romantic expressiveness through the customary
violinistic writings.
54
55
Joseph Joachim, Violin Concerto No.2, Op.11. (Leipzig: Breitkopf und Härtel, [1910?], 3rd mov.,
meas.645–47, accessed May 1, 2015. http://imslp.org/wiki/Special:ReverseLookup/199046.
111
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Stylistic Changes in Two Violin Concertos by Henryk Wieniawski

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in the Performance Studies Division

B.M., Butler University, 2005

Committee Chair: Piotr Milewski, DMA

influences of earlier and contemporary leading violinist-composers such as Viotti, Kreutzer,

document attempts to reconcile the various interpretations in a comprehensive composite guide.

All rights reserved.

requirements to become a doctoral candidate. I deeply appreciate his teaching acumen,

allowed me to stay in the U.S.

beautiful things God has given us to achieve our goals in life.

List of Tables …………..………………………………………………………………………....v

List of Musical Examples ……...…………………………….………………………………….vii

Introduction and Literature Review………………………...……………………………………..1

1. The Violin Concertos as a Virtuoso Genre in the Nineteenth Century………………10

2. Formal Structure of the First Concerto ……………………………………………...23

3. Formal Structure of the Second Concerto …...………………………………………53

4. Musical Content of Two Concertos …………………...……….……………………72

Table 1.1 Koch’s Description of the First Movement of a Solo Concerto

Table 2.3 Subtype E: Type V Adaptation of the Type II……….…………………………..….26

Table 2.6 Section Lengths in Rondos based on Two–Couplet Structure ……....…………...45–6

Table 3.4 Concertos based on a Modified Ritornello Form…………………………………58–9

Table 4.2 Motivic Arrangement according to Szymańska and Bae………………...………….82

Table 4.4 Wieniawski, Concerto No.1, First Movement: Allegro moderato

Table 4.5 Wieniawski, Concerto No.2, First Movement: Allegro moderato

Table 4.6 Sections of de Bériot, Concerto No.4 in D minor, Op.46 (1844)…...………......…..88

Example 2.1 Wieniawski, Concerto No.1, Op.14

Example 2.2 Wieniawski, Concerto No.1, Op.14

Example 2.3 Wieniawski, Concerto No.1, Op.14

Example 2.10 Vieuxtemps, Concerto No.4 in D minor, Op.31

Example 2.12 Wieniawski, Concerto No.1, Op.14

Example 2.13 Ernst, Rondo Papageno, Op.20, mm.329–37…...…………..…………………...52

Example 2.14 Wieniawski, Concerto No.1, Op.14

Example 3.1 Rode, Concerto No.8, Op.13, First Movement, mm.64–73……………..…….....57

Example 3.3 Wieniawski, Concerto No.2, Op.22

Example 3.4 Wieniawski, Polonaise Brillante No.2, Op.21, mm.242–45…...….…....……….61

Example 3.6 Wieniawski, Concerto No.2, Op.22

Example 3.7 Wieniawski, Concerto No.2, Op.22

Example 4.1 Wieniawski, Concerto No.1, Op.14

Example 4.2 Kreutzer, Violin Concerto No.8 in D minor

Example 4.3 Kreutzer, Violin Concerto No.18 in E minor

Example 4.4 Spohr, Violin Concerto No.1 in A major, Op.1

Example 4.5 Spohr, Violin Concerto No.11 in G major, Op.70

Example 4.6 Ernst, Concertino in D major, Op.12

Example 4.7 Joachim, Violin Concerto No.1, Op.3, mm.30–33….............................................74

Example 4.8 Wieniawski, Concerto No.1, Op.14

Example 4.9 Wieniawski, Concerto No.1, Op.14

Example 4.10 Wieniawski, Concerto No.1, Op.14

Example 4.11 Wieniawski, Concerto No.1, Op.14

Example 4.12 Wieniawski, Concerto No.1, Op.14

Example 4.13 Wieniawski, Concerto No.1, Op.14

Example 4.15 Kreutzer, Concerto No.10 in D minor,Third Movement: Rondeau, mm.60–65....78

Example 4.16 Lipiński, Concerto Militaire, Op.21

Example 4.17 Ernst, Polonaise, Op.17, mm.32–35….....……..………..……………………….79

Example 4.20 Wieniawski, Concerto No.1, Op.14

Example 4.21 Wieniawski, Concerto No.1, Op.14

Example 4.22 Wieniawski, Concerto No.2, Op.22

Example 4.23 Wieniawski, Concerto No.2, Op.22

Example 4.24 Wieniawski, Concerto No.2, Op.22