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TitlePresentation and musical analysis
Third movement
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TitleThe Violin Concerto Op.61: Third Movement (Rondo: Allegro)

The third movement is built around the lively Rondo form (in which one main theme - the Refrain - is repeated in a cycle interspersed with different des) and also includes a number of classic Sonata features: the three-part symmetry, harmonic structure and the fact that the first episode - which returns as the third episode - acts as the 2nd theme of the Sonata. This varied form, known as the Rondo Sonata, can be found in some of Mozart's works; Beethoven went on to use it frequently in the last movements of the works of his second period.

Section Part
in the
Forma Sonata		 Tonality Motif Performer Approach
Refrain 1st

T
H
E
M
E
 E
X
P
O
S
I
T
I
O
N		 D

M
a
j
o
r		 A
solo
bars
1-4		 Soloist The Refrain is introduced by the soloist, in low and high registers in sequence. The theme is repeated, forte, by the entire orchestra.
A'
tutti
bars
21-24		 Orchestra
1st Episode 2nd

T
H
E
M
E		 B
"caccia"
bars
45-49		 Soloist
+
Orchestra		 The soloist embellishes the melody over a typical "corni da caccia" ("bugle") theme.
C
retransition
bars
59-62		 Soloist
+
Orchestra		 The second part of the episode gradually takes us back to the main key and Refrain, which the orchestra introduces by reworking fragments of the theme.
Refrain C
O
D
A		 A
solo		 Soloist The consequent to the refrain, bars identical until the last of the Tutti where it takes on a different pace to introduce the central episode.
A'
tutti		 Orchestra
2nd Episode D
E
V
E
L
O
P
M
E
N
T		 g

m
i
n
o
r		 D
bars
126-130		 Soloist
+
Orchestra		 This contrasting Episode is lyrical and expressive; the counterpoint between the bassoon and solo violin is particularly melodic.
D' Soloist
+
Orchestra
D'' Soloist
+
Orchestra
Reconduction        
Refrain 1st

T
H
E
M
E		 R
E
C
A
P
I
T
U
L
A
T
I
O
N		 D

M
a
j
o
r		 A
solo		 Soloist The first theme is repeated, first by the soloist and then by the entire orchestra.
A'
tutti		 Orchestra
3rd Episode 2o

T
H
E
M
E		 B'
bars
210-222		 Soloist
+
Orchestra		 The third Episode, a variation on the first Episode, is characterised by the hunting theme and embellishments by the Soloist, followed by a gradual return to the main key.
The return of motif A is preceded by the
C ' Soloist
+
Orchestra
Cadenza       Cadenza (composed by Fritz Kreisler).
Reconduction   A''
bars
282-284		 Orchestra A "false recapitulation" in a distant tonality delays the return of the theme which is developed one last time before the final chords are heard.
  A'''
false
recapit.
bars
293-296		 Soloist
Coda Development

and

Cadence 		  A''''
bars
315-319		 Orchestra
+
Soloist		  
  A'''''tutti
bars
329-332		 Orchestra
+
Soloist		 The final chords bring the concerto to a magnificent conclusion; motif A is repeated one last time by the soloist before the orchestra plays out the finale.
  A''''''
codetta
bars
349-360		 Soloist
+
Orchestra
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