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Saint-Saens’ 3rd fiddle concerto is Romantic in manner. The melodious line quickly rises and falls. and rhythmic values are varied from fast. running notes to longer more lyrical lines. At times ( such as the beginning of the 2nd motion ) . the melodious line is unstable and elegant. This trait is typical of the composer and of Gallic music in general during the late 19th century. In fact. the writer of the text edition comments that Saint-Saens shows “an elegance of melodious line in [ his ] music. which is non unlike the fluidness of the Gallic linguistic communication.

” This characteristic can be attributed to the composer’s patriotism. The attach toing orchestra is instead big ( though non every bit big as those employed by Bruckner or Strauss ) . another mark of the composer’s Romantic and anti-German inclinations. The music is tonic. with meters jointing the terminals of musical subdivisions. Form Though. as the writer of the text edition comments. “French composers were besides seeking to make new signifiers of music whenever possible. ” Saint-Saens’ concerto is in the traditional three motion format.

The three motions – allegro non troppo. andantino quasi allegretto. and molto moderato vitamin E maestoso – follow the traditional fast-slow-fast form established with the Viennese composers Mozart. Haydn. and Beethoven. Saint-Saens does. nevertheless. depart from the traditional dual expounding sonata form employed by such composers in first motions. Saint-Saens’ concerto opens straight with the fiddle playing the chief subject. accompanied by the orchestra. Capable Matter In footings of capable affair. this concerto is an illustration of absolute music: there is no attach toing narration.

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