Priscille Lachat-Sarrete

Analyse des concertos de l’école française de violon du début du XIXe siècle/
Analysis of the Concertos of the French Violin School of the Early 19th Century

Giovanni Battista Viotti (1755-1824), whose talent “had the effect of a thunderbolt” when he gave his first public performance at the Concert spirituel in 1782, is considered as the founder of the French Violin School. His successors, his student Pierre Rode (1774-1830), Rodolphe Kreutzer (1766-1831), and Pierre Baillot (1771-1842), are renowned for their Méthode de violon du Conservatoire. Regarded nowadays as secondary composers, these four violinists wrote a set of seventy concertos.

The analysis of the concerto form of the beginning of the 19th century is usually done in reference to the sonata form, and to the aria da capo. This study seeks to bring out why these models are not fully relevant when analyzing the consistent and relatively homogeneous corpus of concertos of the French Violin School. It aims at suggesting a grid of analysis, which includes the specific characteristics of this School and should gauge how it may contribute to the analysis of the concertos retained by the posterity as the major works of this time.