K. 219, Violin Concerto #5 (First Movement)

K. 219, Violin Concerto #5 (First Movement)

There tends to be two types of openings in Literature and Movies.  One starts at normalcy.  The plot boils as conflicts are introduced, until we reach the climax.  The other starts with the final stairs of the climax then knocks the audience down to the bottom of the plot-hill.  We wonder the rest of the movie how the protagonist is going to find him or herself in the introductory predicament. Or, in some cases the introductory jubilation.  The second type of opening has its place, but is so often over-used simply as a means to grab the attentions of an ever-growing impatient audience.

Why bring this up?  The first movement of Violin Concerto #5 has such an opening.  Many music pieces have this element, and I prefer this opening in music as opposed to books and movies. The first strum of stings tick with clock tocking precision.  Cheerful strings proclaim among the increasing beats that they’re ready to take on the world.  The orchestral opening dances with a sprinting optimism at its peak.  ‘Anything is possible’ the voice declares.

Then, the music knocks back the in mood.  The solo violin, timid and frail, asks if it has what it takes.  ‘Is anything really possible?’ The orchestra replies with a gentle touch to the back, ‘yes.’  ‘You can do it.’ The solo violin gains self-confidence, bolstering ‘you’re right.  I can.’ The accompanying strings agree with jubilee, as the solo violin seems to list off each of its attributes.

Around the four minute mark self-doubt seeps back into the violin.  The orchestra reassures the violin, but with less patience.  The violin submits saying, ‘Yeah.  You’re right!’  This banter continues mostly in an optimistic voice with only hints of doubt. The orchestra grows more demanding and seems to want top kick the violin in the rear to get moving.  With one last self-struggle, the solo violin is waiting at the door.  The orchestra encourages it to go out and conquer the world. 

But, what kind of conquering does the orchestra want from the violin?  As I delve into the rest of K. 219 in later blogs, I will explore more how Mozart’s mood may have influenced the work.  Although, the first movement is primarily optimistic, it is peppered with self-doubt.  I see Mozart standing at his Salzburg door, on the verge of manhood.  The world tells him he is destined for greatness.  His father. Salzburg. Whatever… But, the same world that is proclaiming his brilliance is also trying to dictate how it wants him to use it, most likely for self-serving purposes. 

I don’t know… How does one find that balance?  We can sit back and whine about how the world won’t let us be ‘us.’  But ultimately, how can we ever get the recognition we want, if we don’t in some way, at some time, cater to the world’s demands?  Really, isn’t the world full of self-doubting individuals who seek out certain mediums for their own comfort?  Although, we are prone to seek out vain, unlasting comforts.  Sometimes, we do need something larger than ourselves to encourage us to seek out comforts of greater value (an everlasting comfort?) even if the journey is scary. And… Even if we don’t get the adulation we crave.