In addition, the form of the concerto matches Vivaldi's standard of three movements, fast-slow-fast. The first movement, Allegro energico ma non troppo, is written in Ritornello form, the most common form of Vivaldi's concerti, which consists of alternation of solo and tutti sections. The melodic gestures are also in the style of Vivaldi, with the frequent use of sequences and its characteristic rhythmic patterns. Yet one can quite easily hear that this is not an “authentic” Vivaldi, rather a work in his “style”. Although Kreisler tried to avoid using the tonal language of late romanticism or modernism, there are some harmonic progressions that would make Vivaldi raise an eyebrow. The third movement, Allegro molto, is the most remote from Vivaldi’s style. It is a rondo in which many of the episodes sound like they belong to the showpieces Kreisler played as a soloist, some even have a folkhungarian character. The movement ends with the indication Largamente e Grandioso, in a pompous character that is very foreign to the language of Vivaldi, but very effective in getting applause. Oded Shnei-Dor
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