[Lev Knipper] Violin Concerto No.1 (Score-Video)

This concerto has 3 movements: 00:10 - I. Largo - Allegro 18:18 - II. Andantino 26:32 - III. Allegro energico Performers: Mikhail Krutik (Violin) Alexander Titov / St. Peterburg State Academic Symphony Orchestra —————— The dedication of the Violin Concerto to Olga Leonardovna Knipper-Chekhova is an expressive detail attesting to the extraordinary significance of this work for the composer. Knipper-Chekhova’s spiritual influence on Lev Konstantinovich was immense. All three movements of the concerto exist in an indissoluble internal unity, governed by an astonishing intonational affinity. The form of the work is conceived as an organic whole, a hallmark of the composer's output beginning in the 1940s. The composer's subtle thematic craftsmanship is striking: all intonations, motifs, and polyphonic counter-melodies echo one another and are in constant flux—occasionally in conflict, yet always serving as genuine "building blocks" for the erection of a balanced and harmonious musical edifice. The first movement is quite expansive in scale. It opens with an extended, slow introduction: against a sustained pedal point in the low strings, an austere, expressive theme emerges in the clarinet, entering into a dialogue with the solo violin. This very theme becomes the core seed and driving force of the entire movement. The lyrical portion of the introduction—a soul-stirring melody in the soloist’s upper register—is later repurposed as the secondary theme. In the Allegro, the introductory theme transforms into a resilient, resolute gesture, giving rise to all manner of rhythmic displacements. The vivid thematic material is instantly memorable. The secondary theme is remarkably beautiful; the melody is repeated across diverse orchestral combinations, continually transforming and blossoming with new colors. The expansive development section impresses with the virtuosic passagework of the solo instrument, diverse textural work with instrumental timbres, rhythmic inventiveness, and the contrapuntal interplay between the work's two polarized main ideas. This represents the development of core thematic material in the finest traditions of Russian symphonism. At the climax, the lyrical melody of the first movement metamorphoses into a powerful, hymn-like theme of the Homeland—reminiscent of the symphonic traditions of Rachmaninoff and Prokofiev. The soloist's cadenza is extensive and saturated with an immense number of daunting technical demands. The conclusion of the movement is concise, returning us once more to the primary theme. The theme of the second movement is introduced by the solo French horn. Expansive and supple, it lends itself to endless melodic variation and heartfelt cantilena. At times, it resembles a slow waltz lacking an initial downbeat, where the orchestral strings are unexpectedly and softly cushioned by the tuba and timpani. A gradual accumulation of sound and layering of orchestral timbres builds toward a mighty climax, after which the solo violin continues to "soar" for some time in the stratosphere above a fading orchestra. In the concerto's finale, overtones of anxiety make perhaps their first appearance—entirely understandable given that the work was conceived in the autumn of 1942. A sharp rhythmic figure arising in the low register of the cellos and double basses permeates the entire movement, serving as the kinetic engine of the finale. The soloist’s thematic material unites this rhythm with the motifs of the first movement's principal theme in a wondrous manner. Once again, one must pay tribute to Knipper’s masterful handling of musical material and the supreme intellectuality of his compositional thought. Very soon, the principal theme transforms into a springy march—at times grotesque in the flute and violin, at others martial in the orchestral tutti. The serene lyricism of the secondary theme temporarily dispels these dark forebodings. Several times, this luminous image seeks to establish itself within the complex thematic development, locked in conflict with the march-like, militant, and at times barbaric impulse. The forces of evil prevail. The violin cadenza (again expansive and replete with complex technical challenges) sounds somewhat weary and despairing on this occasion. Yet once more, if ever so timidly, the finale's lyrical theme returns. This time, the composer elevates it to an exquisite climax, in which it rings out exultant, full-throated, proud, and radiant. A brief conclusion swiftly pulls us back into an uneasy reality. (Source from CD Booklet) —————— I do not own neither the score, nor the recordings used in this video. This is only for educational purposes. If you have any complaints regarding copyright issues, please write to me directly at asorabji20(at)gmail(dot)com before submitting a report to YouTube and I will remove the video as soon as possible.