Mozart - Violin Concerto No. 3, K. 216 [Grumiaux]

Wolfgang Amadeus Mozart (27 January 1756 - 5 December 1791), baptised as Johannes Chrysostomus Wolfgangus Theophilus Mozart, was a prolific and influential composer of the classical era. According to Bartje Bartmans one of the greatest and brightest stars on the firmament.
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Violin Concerto No. 3 in G Major, K. 216 (September 12, 1775)
Cadences: Eugene Ysaye
1. Allegro (0:00)
2. Adagio (8:45)
3. Rondeau. Allegro (16:24)
Arthur Grumiaux, violin and the London Symphony Orchestra conducted by Sir Colin Davis
Rec. November 1961, London
There was a glitch with the final chord of the first movement. There was a sudden cut I couldn't fix.
Description by Blair Johnston [-]
Mozart's five authentic violin concertos are traditionally attributed to the year 1775, but recently there has been some speculation that the first and possibly the second are in fact products from a few years earlier. If this is indeed the case, the distinctly greater sophistication of the Violin Concerto No. 3 in G major, K. 216 as compared to its immediate predecessors ceases to be the great mystery that it has for so long been. Even a composer given to as rapid spurts of artistic growth as Mozart would have been hard-pressed to travel such a great distance in the span of only a few months.
This is arguably Mozart's most popular violin concerto; it has neither the boisterous enthusiasm of No. 4 in D nor the electric virtuosity of No. 5 in A -- it is a far more intimate work than either of those -- but the sweetness and ingratiating simplicity of its melodies are surpassed by virtually nothing Mozart ever wrote. Furthermore, it is here that for perhaps the first time Mozart is completely successful in his effort to fill the outlines of the three-movement Classical chamber concerto with the kind of clever, colorful, and continually changing dramatic course that makes Mozart's operas the glorious events that they are.
So, when the orchestra decides in the middle of the Allegro first movement to interrupt the happy, charming discussion and shove the violinist, willing or not, into the role of unhappy protagonist for a while we can feel safe chalking it up to Italian opera: a pair of sobbing outbursts grow into a vehement series of sixteenth notes; a little later on, at one of the concerto's most spectacular moments, the sobbing outburst becomes nearly heroic, and, satisfied at having achieved concord from discord, launches the recapitulation.
During the celebrated Adagio, Mozart asks the two oboists to cast their instruments aside and play flutes instead. Each of the finales of Mozart's last three violin concertos is interrupted mid-course by an episode that contrasts with the main music far more than one normally finds in a rondo (the movements are examples of the so-called French Rondo, or Rondeau, then just entering its heyday). In the Concerto No. 3, that episode is a delightfully impish Allegretto whose folk-like tune is so full of joie de vivre that the violinist cannot but explode into effervescent triplet arpeggios. Another sign of Mozart's growing mastery is found at the very end of the concerto, as the traditional bombastic conclusion is thrown out in favor of lighthearted little cadence for just oboes and horns.

[@TimondeNood]

19:20 always gets me. Thank you for the upload!

[@mr-wx3lv]

For .me Violin Concerto 3 takes things to another level. We hear Wolfgang at his most lyrical. Note, this performance is done at a very brisk pace..

[@timothythorne9464]

mr sneaky2010 I think this is the best violin concerto ever. Mozart's melodic invention is boundless in this piece. Unlike most violin concerti, this one radiates sheer joy throughout, and never squeaks.

[@vorspiel1023]

Grumiaux was to Mozart as bubbles are to champagne. Perfection.

[@_PROCLUS]

Allegro 0:00 Adagio 8:45 Rondo. Allegro 16:24

[@kadirbilgin1234]

Many thanks

[@mrroneill99]

Thanks for continuing this series! AG is just superb! ❤️🎼🎵👏☘️🇮🇪

[@wersenchannel6168]

cadenza on mozart 3 is probably one of the best cadenza that ysaye ever wrote

[@MrELETRO18]

Magnífico 🎻❤️🎵

[@meghannachtiean3830]

Came for the oboe, best instrument ever

[@oliverwangviolin]

Where can we get the cadenzas for the 1st movement?

[@gaboelexo]

3:36 cool

[@loveclassicalmusicalot]

Why are the notes in the Viola part so small in the Andante section of the third movement?

[@doublesharp4325]

Because Mozart forgot to write anything in the viola part in those bars of the autograph. The editor has assumed that he intended to have the violas double the cellos an octave higher.

[@RLSimonYT]

6:54

[@christianwouters6764]

Very good composition and performance. I have my doubts about the cadenza, it is not in accordance with the overall style of the music.

[@bartjebartmans]

It is at the discretion of the performer, not the listener.

[@christianwouters6764]

@@bartjebartmans Of course. I allways wondered why in competitions the candidates are never asked to compose their own cadenza's. It would be good way of testing their insight in the style of the period.

[@timothythorne9464]

Christian Wouters I once listened to Mozart's 25th concerto for fortepiano, with cadenzas by Busoni! Needless to say, the overblown, late Romantic style of the cadenzas were totally ineffective and ruined the performance completely!

[@pseudotonal]

Where is the score for the cadenza at the end of the 1st movement?

[@bertuspieters4154]

Mozart wrote no cadenzas for this (or the other) violin concertos, so there is no score.

[@kadirbilgin1234]

1:17

[@SamantaGSV]

whose the cadeza is it???

[@bobdathang3229]

The cadenza is Ysaye's

[@ezianamussella3061]

Dove posso trovare la Cadenza dell’Allegro? Ne ho bisogno

[@davedonnie6425]

How do they decide what string to play on

[@oolonghalfsugarlessice9080]

What😭

[@ThomasTJDavis]

Not a bad question. Honestly, as a string player, it depends on what makes the most sense musically and technically. You wouldn't want to shift really high up to reach certain notes, unless it sounds better one way versus another.

[@isaacgraham4867]

Imo you'd want to avoid shifts and unnecessarily high positions as much as possible in classical works by composers such as Mozart. It's much cleaner. It's a bit different in later works (i.e. Brahms, Bruch, Sibelius etc.)