https://youtu.be/ohXLeL69tkc?si=l4fm3p8IBo1e50nh
費利克斯・孟德爾頌（Felix Mendelssohn）的**《E小調小提琴協奏曲，作品64》**是小提琴曲目中最受喜愛、演出頻率最高的作品之一，也是浪漫主義協奏曲的奠基之作。
這部作品創作於 1838 年至 1844 年間，並於 1845 年由孟德爾頌的摯友，萊比錫布商大廈管弦樂團的首席斐迪南・大衛（Ferdinand David）首演。大衛與作曲家緊密合作，為獨奏部分提供了寶貴的技術建議。
它的獨特之處
儘管這部作品保留了傳統的快—慢—快三樂章結構，但孟德爾頌引入了幾項創新，打破了古典傳統，並幫助塑造了浪漫主義協奏曲的風格：
1. 獨奏者立即入場
在典型的古典協奏曲中，樂團會先完整地呈示主題，獨奏者才會進入。孟德爾頌卻大膽地拋棄了這一做法：小提琴獨奏在第三小節就進入，奏出標誌性的、高亢而不安的主題，從一開始就抓住了聽眾的心。
2. 內嵌式的華彩樂段
華彩樂段（獨奏者炫技的樂段）傳統上是由獨奏者即興演奏，並位於第一樂章的結尾、尾聲之前。孟德爾頌的華彩樂段是完整寫入樂譜中的，更重要的是，它被放置在發展部的末尾，作為過渡並直接引導進入再現部。這使得華彩樂段成為樂章結構中不可或缺的有機組成部分，而不是獨立的炫技展示。
3. 樂章間的連貫性（Attacca）
整首協奏曲被設計為一個連續的音樂流程，樂章之間沒有停頓或掌聲。簡短的過渡段將它們連接起來：
一個由低音巴松管持續保持的單音，將戲劇性的第一樂章連接到寧靜的第二樂章。
一段簡短、沉思的獨奏小提琴和弦樂的過渡，直接導向輝煌的終樂章。
4. 抒情與炫技的平衡
音樂在炫技性和發自內心的抒情性之間取得了完美的平衡。第一樂章（Allegro molto appassionato）充滿戲劇性和宏大的旋律；第二樂章（Andante）是一首優美、寧靜的「無言歌」（孟德爾頌鍾愛的體裁）；而第三樂章（Allegretto non troppo—Allegro molto vivace）則是一段輝煌、輕快、如「精靈般」的迴旋奏鳴曲，常讓人聯想到他的《仲夏夜之夢》配樂。
結構與特色
協奏曲包含三個樂章：
Allegro molto appassionato (e小調/很熱情的快板)：快速而充滿激情。這個樂章充滿戲劇張力和宏大旋律，是整部作品的精華。高亢的主題、抒情的第二主題（由木管樂器奏出，小提琴演奏持續低音伴奏時），以及創新的華彩樂段都使其極具辨識度。
Andante (C大調/行板)：慢速而溫柔。與第一樂章的強度形成寧靜的對比，獨奏小提琴奏出簡單而富有表現力的旋律，猶如一首崇高而親密的對話。
Allegretto non troppo—Allegro molto vivace (E大調/不很快的稍快板—甚活潑的快板)：中速接著轉為非常快速而活潑。終樂章是一個閃耀、輕盈、歡快的結尾。它的主旋律常被形容為「頑皮」或「精靈般」，快速輕盈的樂句對獨奏者而言是高超的炫技展現。
著名演奏家
孟德爾頌小提琴協奏曲已被幾乎所有主要的小提琴家錄製。一些備受推崇的錄音和演奏家包括：
雅沙・海飛茲（Jascha Heifetz）： 以他令人難以置信的技術精準度和充滿活力的強度著稱。
內森・米爾斯坦（Nathan Milstein）： 以其無可挑剔的品味、清晰度和貴族式的風格而受到重視。
伊扎克・帕爾曼（Itzhak Perlman）： 以他溫暖、豐富的音色和情感深度而聞名。
希拉蕊・韓（Hilary Hahn）： 她的演奏因其技術上的掌控和深思熟慮的詮釋而受到讚揚。
Felix Mendelssohn’s Violin Concerto in E minor, Op. 64, is one of the most beloved and frequently performed works in the entire violin repertoire, and a cornerstone of the Romantic concerto.
It was composed between 1838 and 1844 and premiered in 1845 by Mendelssohn's close friend, the Leipzig concertmaster Ferdinand David, who collaborated with the composer and offered technical advice for the solo part.
What Makes it Special?
While it maintains the traditional three-movement fast-slow-fast structure, Mendelssohn introduced several innovative features that broke with Classical tradition and helped define the Romantic concerto:
1. The Immediate Soloist Entry
In a typical Classical concerto, the orchestra would play a full exposition of the themes before the soloist entered. Mendelssohn boldly discards this: the solo violin enters in the third bar with the iconic, soaring, and restless principal theme, captivating the listener from the very start.
2. The Integrated Cadenza
The cadenza (a virtuoso solo passage) is traditionally improvised by the soloist and placed near the end of the first movement, just before the final coda. Mendelssohn's cadenza is written out as part of the score and, more importantly, is placed at the end of the development section, serving to bridge and lead directly into the recapitulation. This makes it an organic, structural part of the movement rather than a tacked-on display.
3. Connected Movements (Attacca)
The entire concerto is designed to be played as a single, continuous flow of music, with no break or applause between movements. Short transitional passages connect them:
A sustained note from the solo bassoon links the dramatic first movement to the tranquil second.
A brief, reflective passage for the solo violin and strings leads directly into the dazzling finale.
4. Lyrical and Virtuosic Balance
The music strikes a perfect balance between virtuosity and heartfelt lyricism. The first movement (Allegro molto appassionato) is dramatic and passionate, the second (Andante) is a beautiful, tender "song without words" (a form Mendelssohn loved), and the third (Allegretto non troppo—Allegro molto vivace) is a brilliant, light, and "fairy-like" rondo-sonata, often reminiscent of his Midsummer Night's Dream music.
Structure and Character
The concerto is in three movements:
Allegro molto appassionato (E minor): Fast and passionate. The first movement is a masterpiece of drama and sweeping melody. The soaring main theme, the lyrical second theme (introduced by the woodwinds while the violin plays a sustained low note), and the innovative cadenza make it instantly recognizable.
Andante (C major): Slow and tender. This is a beautiful, serene contrast to the first movement's intensity, featuring a simple, expressive melody in the solo violin that feels like a sublime, intimate conversation.
Allegretto non troppo—Allegro molto vivace (E major): Moderate then very fast and lively. The finale is a sparkling, light, and joyful conclusion. Its main theme is often described as "puckish" or "elfin," and its fast, light passage-work is a dazzling showcase for the soloist.
Notable Performers
The Mendelssohn Violin Concerto has been recorded by virtually every major violinist. Some of the most highly-regarded recordings and performers include:
Jascha Heifetz: Known for his incredible technical precision and vibrant, intense energy.
Nathan Milstein: Valued for his impeccable taste, clarity, and aristocratic style.
Itzhak Perlman: Recognized for his warm, rich tone and emotional depth.
Hilary Hahn: Praised for her technical command and thoughtful, precise interpretations.
Fritz Kreisler: An important historical recording that showcases a distinct, singing, "old-world" style.