The first movement, Allegro moderato, of the Violin Concerto in A major
recalls the structure of Haydn’s Concerto in G major, HobVIIa:4, using a melodic phrase—itself a common thematic idea in instrumental music since Vivaldi—characterized by a pointed dynamic rhythm, as an aria with variations. The solo part is, from the outset, technically demanding, with continuous leaps to the extreme points of the violin fingerboard alternating with full chords. The Adagio in D major (without viola and bass), is played sempre piano throughout, with music that sounds more suited to the theorbo than an orchestral accompaniment. The melody seems to be somewhat uncertain or incomplete, but the balance is restored in the cadenza. The ‘tutti’ of the third movement, Allegro in A major, exudes dynamic momentum in its alternation of quadruplets and sextuplets. The violin’s first solo is enriched with ornaments that are typical of the contemporary composer Nardini. The second solo, more archaic, evokes the bird-like sound of the recorder in typical Vivaldian fashion. These features all root the composition to the period of the galant style.
from notes by Dinko Fabris © 2008