Violin Concerto E minor, Op. 64, 1st movement

Violin Concerto E minor, Op. 64, 1st movement

Felix Mendelssohn

Svetlana Makarova's masterclasses

Italian 41 min Violin

Produced by the Saline royale Academy in February, 2021 at Arc-et-Senans.

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Sheet music

Aim for excellence! You can improve your skills with expert advice. Download the annotated sheet music of this violin masterclass. Please note that this piece has been annotated in accordance to Svetlana Makarova’s feedback and comments.

Svetlana Makarova

Svetlana Makarova

In 1981 she won first prize in the Moscow International Youth Tchaikovsky Competition.

Svetlana Makarova was born in Moscow in 1981. She started to play violin at the age of 5 in a class of Honoured Artist of Russia Ludmila Egorova. At the age of 10 she won the first prize at the Moscow International Youth Tchaikovsky Competition.


Hereafter she won different prizes at numerous state and international competitions. In 2005 Svetlana graduated the Moscow State Tchaikovsky Conservatory and in 2008 finished her postgraduated studies with professor M. Glezarova.


Svetlana actively plays and gives concerts as a soloist and as a part of different chamber ensembles. She also made several CD recordings (with pieces of Tchaikovsky, Beethoven, Brahms, Shubert, Schönberg) as a soloist and as a member of chamber ensembles. Since 2003 Svetlana is a member of the Verbier Festival Orchestra, and from 2006 – of the Verbier Festival Chamber Orchestra, where she collaborate with such a great musicians as J. Levine, V. Gergiev, M. T. Thomas, Y. Bashmet, D. Sitkovetsky, M. Vengerov, Y. Temirkanov etc. She takes part in different Festivals such as Verbier Music Festival (Switzerland), Miyazaki Music Festival (Japan), Musical Spring (Moldova), Musical Festival in LA (USA), Eilat Chamber Music Festival (Israel), Festival “Paganiniana” (Italy) etc. In 2005-2008 she was teaching at famous Gnessin’s Music College in Moscow. In 2008 she was invited by Prof. Vernikov to collaborate with him in numerous master classes in Italy, Israel and Austria. From 2008 to 2011 she was co-pricipal in the Orquestra Palau de Les Arts Reina Sofia in Valencia (Spain), where principal conductors were Maestri L. Maazel and Z. Mehta. Since 2010 she teaches at the Scuola di Musica di Fiesole in Italy. Until 2013 she worked as an Assistant of Prof. Pavel Vernikov at the Haut Ecole de Musique de Lausanne (Site de Sion) in Switzerland and at many Master Classes in Austria, Italy, France, Switzerland and Japan. She also performed as a violinist at many festivals in Austria, Italy, France, Switzerland and Japan.


Since 2014 she works as a Professor for Violin at the Haut Ecole de Musique de Lausanne in Switzerland.


She plays a violin by Nicola Gagliano made in 1738.

Violin Concerto E minor, Op. 64, 1st movement

"The prodigy’s concerto breaks the Romantic violin concerto tradition of vapid showpieces with little need for artistry or passion, and whose orchestra parts are sparse, insipid, and uninteresting. Felix Mendelssohn referred to these Niccolo Paganini inspired works as merely “juggler’s tricks and rope dancer’s feats.” Felix Mendelssohn’s Violin Concerto was the first significant concerto for violin since Ludvig van Beethoven’s of 1806, and was the last until the concertos of Bruch, written in 1868, and Piotr Ilyich Tchaikovsky and Johann Brahms, both written in 1878. This piece goes against established concerto conventions in several ways, beginning overtly in the opening of the first movement. Instead of a lengthy orchestral introduction, which would lay out the principal themes of the concerto, Mendelssohn writes a measure and a half introduction that really only serves to outline the key of E minor, and immediately brings in the soloist with the principal thematic material. This changes the formal structure of the first movement by alleviating the need for a double exposition (one for the orchestra, and one for the soloist). Felix Mendelssohn again breaks with tradition in the placement of the concerto’s cadenza by putting it before the recapitulation instead of after it. It is believed that Ferdinand David was possibly responsible for the cadenza’s material, which notably, Felix Mendelssohn wrote into the score. It would have been standard procedure of the time to leave it up to the performer to improvise a cadenza. Felix Mendelssohn, again, goes against standard concerto format by not breaking between the movements of his concerto, instead creating a single movement work with three distinct movements."

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