Famous Symphonic Violin Solos

by Pablo Fayad

One of the greatest advantages of learning the violin as an adult is the ability to fully appreciate not just the instrument itself, but also the vast and rich musical culture that surrounds it. With years of musical exposure and a deeper understanding of artistry, adult learners often develop a keen appreciation for the violin’s role within the orchestra—especially when it comes to the stunning solos performed by the concertmaster.

Concertmaster solos, in particular, are a highlight of many great symphonic works. These passages, often virtuosic and deeply expressive, encapsulate the essence of violin playing at its highest level. They showcase the instrument’s lyrical beauty, technical brilliance, and emotional depth, all while demanding exceptional skill and artistry from the performer.

In this blog, we’ll explore some of the most famous and breathtaking violin solos in symphonic works—pieces that have mesmerized audiences and challenged concertmasters for generations.

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Danse Macabre

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Composer: Camille Saint-Saëns
Year: 1874
Theme: Symphonic poem depicting the dance of death, inspired by medieval traditions
Context: Inspired by the medieval motif of the “dance of death”, a procession of skeletons dancing with people of all social classes, Saint-Saëns composed Danse Macabre. This haunting yet beautiful piece became a staple of the orchestral repertoire, despite initial criticisms of its “grotesque realism”.

Violin Solo Analysis: The violin solo in Danse Macabre is structured into three distinct sections, each characterized by unique technical elements:

1. Scordatura – The E string is tuned down a half step
2. Marcatissimo – Energetic off the string articulation
3. Diminished Fifths on Open Strings – An eerie, unsettling effect created by the scordatura

The violin solo in Danse Macabre by Camille Saint-Saëns is both technically and expressively unique, embodying the piece’s eerie and supernatural character. One of its most distinctive features is the use of scordatura, where the violin’s E string is tuned down a half step to E-flat. This subtle but striking modification alters the instrument’s resonance, creating a ghostly, hollow sound that enhances the piece’s unsettling atmosphere.

The solo itself is highly expressive, beginning with long, singing lines played with delicate vibrato before transitioning into forceful, sharply articulated passages marked marcatissimo. The bowing techniques shift dramatically, from controlled, minimal motion to vigorous strokes that alternate between the tip and the frog, adding both intensity and instability.

The use of rapid diminished fifths and open strings further amplifies the macabre quality, mimicking the rattling of bones in Saint-Saëns’ vivid musical depiction of Death leading his spectral dance. This combination of unorthodox tuning, dynamic bowing, and eerie harmonic choices makes the violin solo in Danse Macabre one of the most striking and evocative in orchestral literature.

Scheherazade, Op. 35 (Movement 3)

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Composer: Nicolai Rimsky-Korsakov
Year: 1888
Theme: Inspired by One Thousand and One Nights and infused with Middle Eastern influences

Context:
Scheherazade narrates how the protagonist saves herself from the sultan by captivating him with interwoven tales for One Thousand and One Nights. The work, characterized by recurring themes, blends Russian folklore with Orientalism, solidifying its place in the orchestral canon.

Violin Solo Analysis:
The solo begins with slow, lyrical notes tied in triplets, requiring exceptional bow control for seamless string changes. In the third movement, The Young Prince and the Young Princess, the violin solo reaches one of its most lyrical and enchanting moments and is followed by a cadenza passages that introduces slurred, spiccato arpeggios. The rolled, slurred figures create both harmonic stability and movement in their progression; however, there is a constant change in dynamics between pianissimo, piano, and mezzo piano. At the same time, the bow stroke changes from legato to spiccato without altering the bow’s direction. This is a great example of the technical challenge in a passage that, at first glance appears to be just a series of arpeggios.

Dvorak Symphony No. 8 (Second Movement)

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Composer: Antonín Dvořák
Year: 1889
Theme: A lyrical and pastoral Adagio inspired by Bohemian folk music
Context: Composed in 1889, the second movement of Antonín Dvořák’s Symphony
No. 8 is a lyrical and contemplative Adagio that stands out for its pastoral
character and its connection to Bohemian folk music. This movement alternates between serene and passionate sections, enriched by woodwind dialogues and string melodies. Toward the end, the
violin solo emerges, adding a layer of complexity and emotional depth.

Violin Solo Analysis: The violin solo in the second movement of Dvořák’s Symphony No. 8
is one of the most captivating moments of the piece. It is characterized by its delicacy and lyricism, functioning as a melancholic song that stands out against the orchestral accompaniment.
Technically, the passage employs double stops, and while challenging for the violinist, gives richness to the texture and highlights the warmth of the violin. The melodic line flows expressively, showcasing influences of Bohemian folk music in both its character and ornamentation. This solo not only challenges the violinist in terms of technique but also in the ability to convey the emotional depth that Dvořák infused into the work.

Ein Heldenleben (A Hero’s Life), Op. 40

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Composer: Richard Strauss
Year: 1898
Theme: The violin represents the hero’s companion, inspired by Strauss’s
wife, Pauline de Ahna
Context: In Ein Heldenleben (A Hero’s Life), Op. 40, Richard Strauss assigns the solo violin the role of the hero’s companion, inspired by his wife, Pauline de Ahna. This extensive solo portrays a complex, multifaceted personality, shifting between tenderness, playfulness, and passion. Through its lyrical phrasing and dynamic contrasts, the violin captures the charm, whimsy, and emotional depth of a profound and evolving relationship.

Violin Solo Analysis

This passage is renowned for its technical difficulty and is frequently used in concertmaster auditions. The solo violin takes center stage, with the orchestra falling silent at times to highlight the performer’s skill and artistry. The challenges of this solo include:

• Dynamic Control: Seamlessly transitioning between pianissimo and fortissimo while maintaining tonal clarity and consistency.
• Rapid, Ornamented Passages: Demanding agility and precision, especially in swift position shifts and intricate articulation. The marking “Beinahe doppelt so schnell” (“almost twice as fast”) underscores the technical intensity.
• Emotional Expressiveness: Balancing tenderness and passion, requiring refined phrasing and nuanced interpretation.
• Difficult Double Stops: Requiring accuracy and control to maintain intonation and tonal richness.
• Mastery of Chromaticism: As a late Romantic composer, Strauss employs chromatic lines that challenge the performer’s ability to navigate complex fingerings while maintaining pitch accuracy.

This solo exemplifies the fusion of technical brilliance and expressive depth, making it both a formidable challenge and a defining moment for any violinist.

Mahler Symphony No. 4 (Second Movement)

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Composer: Gustav Mahler
Year: 1899–1900
Theme: The violin represents Death in a grotesque scherzo
Context: We return to the theme of death with Mahler. This time, in the second movement of Gustav Mahler’s Symphony No. 4, the solo violin plays a crucial role in personifying death. This movement, conceived as a scherzo, stands out for its eerie atmosphere and grotesque character.

Like in the Danse Macabre by Camille Saint Saens, Mahler uses scordatura by instructing the concertmaster to tune the violin a whole step higher than standard tuning—A-E-B-F# instead of G-D-A-E. Tuning the violin higher in this way, produces an edgier, more penetrating timbre, evoking the sound of a folk violin or an itinerant musician, adding a rustic and slightly unsettling nuance to the movement.

Character of the Solo: The solo violin melody is eerie and distorted, contributing to the chilling atmosphere of the scherzo. This solo embodies a raw portrayal of ghostly death, employing grotesque and ironic humor influenced by Mahler’s literary inspirations, such as Jean Paul.

Technical and Expressive Challenges:

• Altered Tuning: The scordatura changes the string tension, affecting the instrument’s response and pitch accuracy. The performer must adapt to these differences to maintain tonal precision.
• Articulation: Mahler’s compositional style includes extreme in dynamic and articulation. The violinist must be facile to control the details of quickly changing articulation styles.
• Expression of the Grotesque Character: Conveying the ironic humor and eerie nature of the solo requires an interpretation that blends refined technique with a deep understanding of the emotional and narrative context of the work.

Venus, The Bringer of Peace (The Planets)

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Composer: Gustav Holst
Year: 1914–1917
Theme: A serene depiction of peace
Context: In Venus, the Bringer of Peace, the second movement of The Planets by Gustav Holst, the solo violin plays an essential role in creating a serene and ethereal atmosphere. This movement contrasts with the martial intensity of the first, Mars, the Bringer of War, offering a musical depiction
of the peace and tranquility associated with the planet Venus.

Characteristics of the Solo Violin:
The movement begins with a melody presented by the French horn, to which the solo violin responds with a soft and lyrical line, establishing a dialogue that evokes calm and serenity. The use of controlled vibrato and legato on the violin contributes to a delicate, floating sound, The long, flowing phrases of the violin require precise bow control and interpretative sensitivity to convey the peace and beauty that Holst associates with Venus.

Technical and Expressive Challenges:

• Dynamic Control: The violinist must manage a wide dynamic range,
  from delicate pianissimos to subtle crescendos, always maintaining
  clarity and purity of tone.
• Precise Intonation: The melodic exposition in higher registers and
  interaction with other instruments demands flawless intonation to
  achieve the desired harmony.
• Emotional Connection: Beyond technique, it is crucial for the
  performer to capture and convey the peaceful and contemplative
  essence that Holst envisioned for this movement.

Shostakovich Symphony No. 5 (2nd Movement)

Composer: Dmitri Shostakovich
Year: 1937
Theme: Tension under political repression in the Stalinist era
Context: Dmitri Shostakovich’s Symphony No. 5, composed in 1937, is an iconic work that reflects the tension between artistic expression and the political constraints of the Stalinist era. After the official condemnation of his opera Lady Macbeth of Mtsensk, Shostakovich was forced to create a composition that reconciled his artistic integrity with the expectations of the Soviet regime.

Violin Solo Analysis: In the second movement (Allegretto), structured as a scherzo and trio, the violin solo plays a key role. The violin begins with a playful and coquettish melody, accompanied delicately by harp and pizzicato strings. This contrasts with the scherzo’s rustic and burlesque
character, adding an air of gracious elegance. The music grows increasingly intense, descending into episodes of sonic violence, interpreted as a critique of societal superficiality and oppression.

Technical and Expressive Challenges:

• Articulation and Phrasing: The violinist must execute precise
  articulation to convey the playful character and navigate the shift to
  aggression.
• Dynamic Control: The solo demands a wide dynamic range, from
  delicate passages to sudden bursts of intensity, requiring exceptional
  bow technique.
• Interpretation: The violinist must balance humor and tension,
  reflecting the duality between conformity and critique embedded in
  the music. Although one always keeps in mind what is being played, in this case, the
  violin solo becomes particularly significant, as it gracefully leads to the musical shift for the other instruments.

Vier Letzte Lieder (Four Last Songs)

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Composer: Richard Strauss
Year: 1948
Theme: Meditations on life, death, and acceptance
Context: Vier Letzte Lieder (Four Last Songs) are a profound reflection on life’s final moments, blending lyrical beauty with deep emotional resonance. Among them, “Beim Schlafengehen” (“Going to Sleep”) features a poignant violin solo symbolizing the soul’s ascent to eternity.

Violin Solo Analysis:
The solo acts as a bridge between the second and third verses, elevating the narrative from earthly contemplation to transcendence. Lyrical and expansive, the solo flows naturally, evoking a sense of release and ascension. The subtle accompaniment ensures the violin emerges with clarity, intertwining with the soprano’s voice for thematic cohesion.

Technical and Expressive Challenges:

• Vibrato Control: A warm and nuanced vibrato is essential to convey
  the solo’s emotive depth.
• Phrasing: Long, flowing lines demand precise bow control and
  smooth articulation.
• Dynamics: Crescendos and diminuendos must be executed
  delicately to shape the solo’s emotional trajectory.

Bibliography

• https://orchestraexcerpts.com/orchestral-violin-excerpts-list/
• Concert Master Solos
• https://en.wikipedia.org/wiki/Symphony_No.4(Mahler)
• https://music.allpurposeguru.com/2018/02/danse-macabre-camille-saint-saens/
• M5Music
• RIPHIL
• Explore the Score
• OrchestraExcerpts.com
• https://www.classicalarchives.com/newca/#!/Work/71801