Help with Mendelssohn's VC

[hornteacher]

I'm doing a score study of the concerto and I'm having a rough time figuring out where in the 1st movement the development actually begins.

There is the 1st theme in E Minor, then a transition to G Major.  After the prayer-like 2nd theme in G Major, the 1st theme comes back also in G Major (but in fragments).  This could be the beginning of the development but since it stays in G Major for a while it feels more like a "closing theme" of the Exposition.  If that's the case though, where does the development start?

Any help would be appreciated.

[Anne]

hornteacher,

I'm going to watch this thread with great interest and hope you get some good replies.

[hornteacher]

Here's what I've been able to map thus far on the 1st mvt:

Sonata Form

Exposition Theme 1 - E Minor (m1 in soloist, m47 in orchestra)
Counterpoint Section (m62)
Transition Theme (m72)
Exposition Theme 2 - G Major (m131 in woodwinds, m 139 in soloist, m155 in woodwinds)

At measure 168 we get fragments of Theme 1 but in G Major.  This builds into the orchestra power chords with high soloist notes on fragments of Theme 1.  At m226 the "transition theme" returns which flows into fragments of Theme 1 (m239).  This runs into the cadenza which ends the Development and begins the Recapitulation (but I still don't know where the Development actually begins).

Recapitulation Theme 1 - E Minor (m335 in orchestra)
Transition Theme - E Minor (m351)
Recapitulation Theme 2 - E Major (m377 in woodwinds, m385 in soloist, m401 in woodwinds)
Theme 2 Fragment in E Minor (m 414)
Theme 1 Fragments (m419) building into orchestra power chords with high soloist notes on fragments of Theme 1
Transition Theme returns (m473)
Coda based on Theme 1 in E Minor (m493 to end)

[Brian]

I have no score and am absolutely unqualified, but I'd say, in the recapitulation, after the major-key theme's conclusion, the first timpani stroke marks the separation between recapitulation and coda, since the material that follows wasn't in the original exposition. (It would therefore follow in my interpretation that the major-key return of the first subject is the start of the development, the first time around.) However, you're right: it makes no sense for the exposition to end without any sort of transition from the second subject to something else. So I honestly have no idea.

It's an awesome question sir    and now I want to know, too. Of course it could just be that Mendelssohn, like Dvorak in his Violin Concerto, threw out the rulebook and structured the movement just the way he gosh-darn wanted to. 

[PerfectWagnerite]

I think the development section starts shortly after the last trill in the soloist. After that the soloist states fragments of the opening theme and the orchestra follows. NOW the development starts. You can sort of tell since it sounds like it is in a new key.

I don't have the score for this work so I can't give measure numbers

[Rabin_Fan]

Horn teacher & others,

If you have the Peters score (vln & pno reduction), I make the recap beginning on fig L (marked Agitato) which is in A minor. It leads into the cadenza and then the recapitulation begins. At the ending, there is a similar passage before the coda (which is marked Piu Presto after letter T). Hope this helps. A wonderful piece with great form changes - Mendelssohn's best piece of which the Alfredo Campoli Boult/LPO version on Beulah is indispensable.

[hornteacher]

The BBC discovering music show audio archive has a programme on this piece, scroll down and hit the link, should answer your question...

http://www.bbc.co.uk/radio3/discoveringmusic/audioarchive.shtml

I've already listened to it.  Very good program but no help as to where the development begins.  Thanks anyway.

[hornteacher]

Horn teacher & others,

If you have the Peters score (vln & pno reduction), I make the recap beginning on fig L (marked Agitato) which is in A minor. It leads into the cadenza and then the recapitulation begins. At the ending, there is a similar passage before the coda (which is marked Piu Presto after letter T). Hope this helps. A wonderful piece with great form changes - Mendelssohn's best piece of which the Alfredo Campoli Boult/LPO version on Beulah is indispensable.

I've got the full score edition but I think the letters are the same.  I'll look at this.

[bonzo75]

Campoli Boult, Decca

https://youtu.be/nw4gHeIzqWw

https://youtu.be/vTCwLK1yejU

https://youtu.be/5LXsyMqnx1A

Heifetz, streamed from Tidal

https://youtu.be/8LOggne4lZM

https://youtu.be/wodij0vZl2Y