Konzert für Violine und Blasorchester
This work bears the designation Opus 12.
1. Andante con moto – 9:50
2. Notturno - Cadenza - Serenata – 10:40
3. Allegro molto un poco agitato – 6:35
B-flat Soprano Clarinet I-II
Horn in F I-II
String Bass I-II-III-IV
- Bass Drum
- Crash Cymbals
- Snare Drum
- Triangle (small)
None discovered thus far.
Kurt Weill developed his creative energies mainly within the world of musical theater, where he proved to be an immensely productive and imaginative innovator, but he also left behind a small body of work for the concert hall. The Concerto for Violin and Wind Orchestra op. 12 dates from the spring of 1924. Scored for two flutes, clarinets, bassoons, horns, one oboe and trumpet, percussion and four contrabasses, the concerto comprises three movements. While composing the work, Weill informed his publisher: "I am working on a concerto for violin and wind orchestra that I hope to finish within two or three weeks. The work is inspired by the idea -- one never carried out before -- of juxtaposing a single violin with a chorus of winds."
The specific character of Weill's concerto as music written for chamber orchestra (with an often soloistic treatment of instruments) leads to a transparency that requires utmost precision in the ensemble playing. In the quest for an overall sonic balance, the coarser-sounding wind instruments need to explore all dynamic nuances. The solo part is challenging not only from a technical standpoint but also from an acoustic one (it is crucial to make the violin 'sound'). In spite of these challenges -- or precisely because of them -- critics in the 1920s called the solo part highly idiomatic and extremely rewarding. Since then the concerto has become a 'modern classic' in concert halls around the world.
- Program Note by Elmar Juchem
Concerto, Op. 12, was composed in 1924 for Joseph Szigetti but was premiered by Marcel Darrieux at an ISCM Concert in Paris on June 11, 1925. The esoteric three-movement work represents the peak of Weill's expressionist period. While maintaining his early lucidity, it also contains "a dramatic pungency suggestive of Mahler – expressive and painfully laughing." There is also a strong trace of Stravinsky in the classical and masterful clarity of sound. In the second movement, a sequence of three nocturne like episodes, the soloist and ensemble members continually exchange positions of musical prominence in contrast to the traditional virtuoso-with-accompaniment arrangements.
- Program Note from Program Notes for Band
- Audio: Reference recording. Ensemble and conductor unknown
- Audio CD: Hartt School Wind Ensemble (Glen Adsit, conductor; Anton Miller, violin) - 2012
None discovered thus far.
To submit a performance please join The Wind Repertory Project
- Bowling Green (Ohio) State University Wind Symphony (Ken Thompson, conductor; Caroline Chin, violin) – 28 March 2019
- United States Marine Band (Washington, D.C.) (Giancarlo Guerrero, conductor; Sheng-Tsung Wang, violin) – 31 March 2014
- Florida State University (Tallahassee) Wind Orchestra (Richard Cleary, conductor; Beth Newdome, violin) – 31 March 2007 (CBDNA 2007 National Conference, Ann Arbor, Mich.)
Works for Winds by This Composer
- Berlin im Licht (1928)
- Concerto for Violin and Wind Orchestra (1925/2010)
- Das Berliner Requiem (1928/1967/2009)
- Konzert für Violine und Blasorchester (1924/2011)
- Little Threepenny Music (1929/1975)
- Mack the Knife (arr. Dye) (1928/1996)
- Three Songs by Kurt Weill (arr. Langslet)
- Threepenny Opera Suite (arr. Kramer) (1928)
- Vom Tod im Wald (1927)
- Smith, Norman E. (2002). Program Notes for Band. Chicago: GIA Publications, pp. 629.
- "Violin Concerto, Op.12 (Weill, Kurt)." IMSLP. Web. Accessed 29 March 2019
- Weill, K. (2010). Konzert für Violine und Blasorchester, op. 12 [score]. Universal Edition: Wien.