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・ Violin Sonata No. 3 (Brahms)
・ Violin Sonata No. 3 (Enescu)
・ Violin Sonata No. 32 (Mozart)
・ Violin Sonata No. 33 (Mozart)
・ Violin Sonata No. 35 (Mozart)
・ Violin Sonata No. 36 (Mozart)
・ Violin Sonata No. 4 (Beethoven)
・ Violin (film)
・ Violin (novel)
・ Violin authentication
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・ Violin concerto
・ Violin Concerto (Adams)
・ Violin Concerto (Barber)
・ Violin Concerto (Bates)
Violin Concerto (Beethoven)
・ Violin Concerto (Berg)
・ Violin Concerto (Bergsma)
・ Violin Concerto (Bernard Tan)
・ Violin Concerto (Brahms)
・ Violin Concerto (Britten)
・ Violin Concerto (Carter)
・ Violin Concerto (Dvořák)
・ Violin Concerto (Elgar)
・ Violin Concerto (Glass)
・ Violin Concerto (Glazunov)
・ Violin Concerto (Higdon)
・ Violin Concerto (Khachaturian)
・ Violin Concerto (Korngold)
・ Violin Concerto (Ligeti)


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Violin Concerto (Beethoven) : ウィキペディア英語版
Violin Concerto (Beethoven)

Ludwig van Beethoven's Violin Concerto in D major, Op. 61, was written in 1806. Its first performance by Franz Clement was unsuccessful and for some decades the work languished in obscurity, until revived in 1844 by Joseph Joachim. Since then it has become one of the most well-known violin concerti.
==Genesis==
Beethoven had previously written a number of pieces for violin and orchestra. At some point in 1790–2, before his musical maturity, he began a Violin Concerto in C, of which only a fragment of the first movement survives. Whether the work, or even the first movement, had ever been completed is not known.〔Stowell, 1998, p.4-5〕 However, even if complete, it was neither performed nor published. Later in the 1790s, Beethoven had completed two Romances for violin - first the Romance in F and later the Romance in G.〔The Romances were published in the opposite order, the first-composed being published second, becoming "Romance No.2"〕
These works show a strong influence from the French school of violin playing, exemplified by violinists such as Giovanni Battista Viotti, Pierre Rode and Rodolphe Kreutzer. The two Romances, for instance, are in a similar style to slow movements of concerti by Viotti.〔Stowell, 1998, p.14〕 This influence can also be seen in the D major Concerto; the 'martial' opening with the beat of the timpani follows the style of French music at the time, while the prevalence of figures in broken sixths and broken octaves closely resembles elements of compositions by Kreutzer and Viotti.〔Stowell, p. 16-19〕

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