By Francesca Dawis ('17)

I scored a student ticket to see violin virtuoso Midori at Bing on April 24! As a violinist myself, I have looked up to her as a superstar ever since I started lessons. All my excitement has gotten me thinking about my favorite violin pieces… here are my personal four essential concerti that are guaranteed to get you in the mood to see one of the world’s most renowned violinists.



1. Concerto for Violin and Orchestra, Op. 14 by Samuel Barber
"The All-American"

I’m a sucker for lush, romantic melodie, and the first two movements of this concerto are chock-full of them. The violin truly sings from the very first measure of the first movement. (Barber also wrote operatic and choral works; this feels like a vocal piece for violin.) And the wistful theme of the second movement—first stated by oboe with muted strings underneath, then by celli, and much later by solo violin—is utterly heartbreaking.

I happen to fall in the category of people who ADORE the first two movements of this piece and aren’t crazy about the third. Give them all a listen and decide for yourself!



2. Violin Concerto No. 1 in G minor, Op. 26 by Max Bruch
"The Oldie But Goodie"

This one is a classic, if clichéd, choice. It’s a concerto that practically every intermediate to advanced violin student learns. It was the first concerto I studied seriously in high school. And yet… I’m not sick of it. I think it’s because I enjoy all three movements separately, but together, they build a clear, satisfying emotional arc. The first movement is dark and brooding, the second is more lyric and emotional but still angsty, and finally, the clouds part for the third—a triumphant burst of joy.



3. Violin Concerto in A minor, Op. 82 by Alexander Glazunov
“The Russian Countryman”

Did I mention how much I love romantic melodies? Glazunov falls into the late Russian Romantic period, and he gives us plenty of juicy melodies. The piece has a unique structure—there are no pauses or final cadences at the ends of the first or second movements. Instead, the second movement is basically inserted into the middle of the first. I love the range of the colors in this piece—from almost eerie, to sweet and charming, to brash and rustic.



4. Carmen Fantasy, Op. 25 by Pablo de Sarasate
“The Sultry Gypsy”

Okay, so technically it’s not a “concerto,” but it’s for violin and orchestra, so what’s the diff? It’s a showpiece, no doubt—virtuosic and technically demanding. While I usually don’t gravitate towards fast, flashy pieces, this one’s an exception. The themes underlying all the technical gymnastics—taken from Bizet’s opera Carmen—are rich and melodious. This piece totally embodies Carmen—it’s fiery, capricious, and oh-so sexy!