Violin Concerto No. 4 (Paganini)

The tempo marking here means "brisk and majestic". The movement modulates from D minor → F major → A minor → D minor → D major.

The first movement begins with a powerful Beethoven-esque theme with striking similarity to the third movement of Vivaldi's Violin Concerto No. 6 consisting of a six-note melody, played by the viola and violin sections, punctuated by strong and syncopated lower-octave accents by the remainder of the orchestra. After dancing together down the D minor scale, the two string sections soar even higher to the perfect fifth, before finding resolution via a broken two-octave arpeggio in D harmonic minor. (This initial theme is the basis for most of the variations throughout the concerto.)

The loud and strong fifteen-second statement is followed by a brief respite where the strings play smoothly with sublime qualities incorporating string-plucking (a now-popular technique made famous by Paganini). After two repetitions of these contrasting segments with slight variations, the soloist enters boldly and alone, expounding upon the main theme with ascending arpeggios requiring great virtuosity. The colorful, bright notes take the listener through the highest register of the violin, pushing the limits not only of the instrument but also of the performer. Without compromising feel, melody, or the contiguous nature of the music, Paganini has already blended strength, passion, and technical wizardry in less than ten seconds of this solo passage. Proceeding with extended lyrical melodies highlighted by trills, staccato 32nd notes, arpeggios, double-stops, and vibrato on the highest of notes, the dance-like nature of the music is never completely lost.

After an interplay with the orchestra, the 2nd solo opens with a chromatic sequence using the raised 4th and descends using the 'b' natural note creating a Spanish flavor in the key of A minor. This passage also hints at Paganini's more comical side while further demonstrating his command of the instrument with string-skipping, chromatic runs, double-stop slides in tenths, and fluid scale runs.

At the twelve-minute mark, another brief interplay with the orchestra is immediately followed by the cadenza. Implementing all of the aforementioned techniques, as well as diminished arpeggios, the rapid-fire bowing of broken chords, and left-hand finger plucking, the soloist is finally joined by the rest of the "band" for a galloping climatic conclusion.

The second movement, in F-sharp minor, is aptly titled Adagio flebile con sentimento (slow and tearful, with sentiment). Though renowned for his dazzling virtuosity and unrivaled skills, here Paganini elegantly bares his soul. The central section of this movement consists of a dialogue between the soloist and the orchestra, followed by a repeat of the opening solo, little varied from the original presentation. The movement ends with a coda, utilizing obstinate basses and violin thirds.[3] Paganini writes "attacca" (play the subsequent movement at once, without pause).

The finale is a "gallant" rondo in D minor, with a central section in B-flat major. The tempo is "andantino" usually taken to mean slightly faster than andante, and is "gaio" cheerful. The movement consists of alternating solo and tutti. A trio section features an opening fanfare by trumpets, but a quiet violin solo ensues. The concerto is brought to a close by the full orchestra, with the solo instrument playing double notes in the high register for contrast.[3] The sonata ends in D minor.