Violin Concerto No. 3 (Mozart)
Wolfgang Amadeus Mozart composed the Violin Concerto No. 3 in G major, K. 216, in Salzburg during 1775. He was nineteen years old at the time of creation. A letter to his father reveals the young composer's thoughts on this specific work. The piece emerged from a period when Mozart served as court musician for Prince-Archbishop Colloredo. Daily duties included composing music for church services and court entertainments. This concerto stood out among five violin concertos written that year. Each concerto required different orchestral forces and technical demands. The environment of Salzburg shaped the musical language used here. Local dance rhythms influenced the final movement's character.
Mozart referred to this composition as the "Straßburg-Concert" in correspondence with his father. Researchers trace this nickname to a motive found within the third movement's Allegretto section. That central section features a local dance style already present in symphonies by Carl Ditters von Dittersdorf. The earlier symphony contained a musette-imitating tune using similar rhythmic patterns. EMI CD booklet contributors suggest the connection explains the self-given title. No other Mozart concerto carries such a descriptive epithet. The name reflects contemporary musical references familiar to listeners in Salzburg. It highlights how composers borrowed and adapted existing folk elements into classical structures.
The score calls for solo violin paired with two flutes, two oboes, and horns in G and D. Strings form the foundation of the ensemble throughout all three movements. Oboes remain silent during the second movement while flutes take their place. This substitution occurs only once across all five Mozart violin concertos written that year. Flutes appear exclusively in the Adagio movement where they play a dance-like motif. Horns support harmonic structure without melodic prominence outside the opening bars. The orchestration creates distinct textural shifts between movements. Wind instruments provide color rather than driving force in most sections. This careful balancing act defines the work's unique sonic identity compared to contemporaries.
The first movement follows sonata form beginning with an orchestra statement of the G major theme. Solo violin enters immediately engaging in bright dialogue with accompanying parts. Modulation moves from tonic to dominant D major then to parallel minor key D minor. The recapitulation returns firmly to home key G major after exploring various tonal centers. Second movement adopts ternary form set in D major as its dominant key. Orchestra presents main theme before violin imitates it one octave higher. A brief modulation to B minor appears when melody features A sharp instead of natural A. Final movement functions as rondo in G major using cut time signatures. An inserted G minor Andante section breaks the flow before returning to Allegretto tempo. These structural choices demonstrate sophisticated handling of classical forms for a nineteen-year-old composer.
Yehudi Menuhin recorded this concerto with George Enescu and Orchestre symphonique de Paris in 1935. Joseph Fuchs followed with Eugene Goossens conducting London Symphony Orchestra in 1959. Arthur Grumiaux collaborated with Colin Davis on a Philips Records release during 1962. Henryk Szeryng worked with Alexander Gibson for New Philharmonia Orchestra in 1969. Anne-Sophie Mutter partnered with Herbert von Karajan recording Berlin Philharmonic tracks in February 1978. Itzhak Perlman joined James Levine leading Vienna Philharmonic in 1983. Hilary Hahn performed with Gustavo Dudamel and Stuttgart Radio Symphony Orchestra in 2007. Viktoria Mullova recently recorded with Oliver Zeffman and Academy of St Martin in the Fields in 2021. Each artist brought distinct interpretive approaches spanning nearly ninety years of recorded history.
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Common questions
When did Wolfgang Amadeus Mozart compose the Violin Concerto No. 3 in G major?
Wolfgang Amadeus Mozart composed the Violin Concerto No. 3 in G major, K. 216, during 1775 while he was nineteen years old. He created this work in Salzburg while serving as court musician for Prince-Archbishop Colloredo.
Why is the Violin Concerto No. 3 by Wolfgang Amadeus Mozart called the Straßburg-Concert?
Mozart referred to this composition as the Straßburg-Concert because researchers trace the nickname to a motive found within the third movement's Allegretto section. This central section features a local dance style already present in symphonies by Carl Ditters von Dittersdorf that uses similar rhythmic patterns.
What instruments are required to perform the Violin Concerto No. 3 by Wolfgang Amadeus Mozart?
The score calls for solo violin paired with two flutes, two oboes, and horns in G and D. Strings form the foundation of the ensemble throughout all three movements while wind instruments provide color rather than driving force in most sections.
How does the structure of the Violin Concerto No. 3 by Wolfgang Amadeus Mozart differ from other classical concertos?
The final movement functions as a rondo in G major using cut time signatures with an inserted G minor Andante section breaking the flow before returning to Allegretto tempo. The second movement adopts ternary form set in D major where orchestra presents main theme before violin imitates it one octave higher.
Who recorded the Violin Concerto No. 3 by Wolfgang Amadeus Mozart between 1935 and 2021?
Yehudi Menuhin recorded this concerto with George Enescu and Orchestre symphonique de Paris in 1935 while Viktoria Mullova recently recorded with Oliver Zeffman and Academy of St Martin in the Fields in 2021. Other notable recordings include Anne-Sophie Mutter with Herbert von Karajan in February 1978 and Itzhak Perlman with James Levine leading Vienna Philharmonic in 1983.