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Concerto for Violin No. 2 in D, K. 211: Full Orchestra, Solo Strings with Ensemble, Solo Violin Part

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Concerto for Violin No. 2 in D, K. 211 Cover Image
Concerto for Violin No. 2 in D, K. 211: Full Orchestra, Solo Strings with Ensemble, Solo Violin Part

Concerto for Violin No. 2 in D, K. 211: Full Orchestra, Solo Strings with Ensemble, Solo Violin Part

By Wolfgang Amadeus Mozart

Item: 36-A177248
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Description
CONCERTO FOR VIOLIN NO. 2 IN D MAJOR, K. 211 was composed by the eighteen year old Wolfgang Amadeus Mozart (1756-1791) in 1775, as part of a four-concerto set for that instrument. It is unknown as to whom he originally intended to perform it, although he himself presented at least some of them to the public. It has been speculated that the violin concertos were written for the Italian violinist and Salzburg concertmaster, Antonio Brunetti, despite the lack of evidence that they were dedicated to him. The second concerto is distinguished from the others by its restrained elegance and simplicity. Instrumentation: 0.2.0.0: 2.0.0.0: Str (4.4.3.3.3 in set): Solo Vn in set. Reprint edition.

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Additional Details
Series: Kalmus Orchestra Library
Publisher: Keiser Productions, Inc.
ISBN10: 8-89-810141-4
ISBN13: 979-889-810-1411
UPC: 605258566904
SKU: 36-A177248
Instrumentation: 0.2.0.0: 2.0.0.0: Str (4.4.3.3.3 in set): Solo Vn in set

More about this title

About the Composer: Wolfgang Amadeus Mozart

Wolfgang Amadeus Mozart (1756-1791) was an Austrian composer whose output spanned nearly every musical form of his era. By age eighteen, when he wrote this concerto, Mozart had already completed symphonies, serenades, and sacred works; the five violin concertos represent a concentrated exploration of the form during his Salzburg years. His facility with orchestration and melodic invention made these works both technically demanding and deeply musical.

Mozart's violin concertos occupy a unique place in the repertoire. They demand virtuosity from the soloist while remaining rooted in the Classical aesthetic of balance and proportion. The concertos reflect his understanding of what the instrument could accomplish, informed by his own violin training and his exposure to leading players across Europe.

Why we love this

K. 211 stands apart for its refined restraint and formal clarity. Rather than overwhelming the soloist with technical demands, Mozart creates a partnership between violin and orchestra that highlights conversational phrasing and elegant melodic writing. Programming this concerto gives both your orchestra and your soloist a masterwork that rewards attention to style, articulation, and the specific character of Classical-era bow technique.

What to expect

The concerto unfolds with graceful simplicity and understated elegance. Rather than virtuosic display, Mozart emphasizes lyrical melody and conversational exchanges between soloist and orchestra. The writing feels intimate despite the full orchestral accompaniment, with moments of genuine warmth balanced by Classical restraint.

Who it's for

This concerto suits orchestras with a strong solo violinist and sufficient string depth to balance the solo part. The work demands precision from both soloist and ensemble but does not require an oversized orchestra. Programs serving intermediate to advanced high school orchestras or college ensembles will find an accessible yet substantive Classical concerto.

How to get the most out of it

  • Balance the solo violin carefully against the orchestra. The strings should provide supportive texture without overwhelming the solo line, particularly in the opening ritornello.
  • Shape the ritornello sections with clear phrase endings. Mozart's orchestration relies on sectional clarity rather than constant forward momentum.
  • Ensure the horns and oboes enter with precision in the accompaniment figures. Their rhythmic placement defines the harmonic support for the soloist.
  • Attend to dynamic contrast within the solo passages. The violin part contains subtle opportunities for expressive shaping that emerge only when the orchestra sits back slightly.

How to use it

Place this on a concert alongside other Classical-era works to establish historical context and stylistic coherence. It works particularly well as a centerpiece for a program exploring Mozart's instrumental music or as the featured work for a chamber concerto series. The concerto's modest length and balanced pacing make it ideal for spring concerts or chamber orchestra showcases.

Skills your students will build

  • Balancing solo line clarity with orchestral accompaniment
  • Executing Classical-era articulation and phrasing in string writing
  • Coordinating multiple instrumental sections in ritornello and transition passages
  • Sustaining ensemble focus while supporting extended solo passages
  • Understanding harmonic function and voice leading in Classical-era orchestration

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