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"Structurally, the French Concerto followed the established three-movement pattern; occasionally, the second movement led without interruption into the finale, a principle that Beethoven used also. The first movement was usually divided into four orchestral ritornels and three solos. A march-like opening was traditional but not obligatory; quite a few concertos begin lyrically while others have the impassioned sweep and agitation of the contemporary operatic overture. The long-delayed entrance of the soloist was treated with great brilliance and was usually based on new thematic material, although occasionally the first orchestral theme was used. The second solo stressed a contrast in mode and an intensifcation of expression and brilliance; it was customarily a free fantasia, very rarely a "development" of preceding material. The last solo contained a shortened recaptiulation and a cadenza within the coda of the orchestra." (B. Schwarz, "Beethoven and the French Violin School," Musical Quarterly 44, no. 4 (October 1958), p. 430).