towards the symphonic overture. It is this for which the theorists blame him, and it is this for which I praise him. For he does not seek to impose a uniform cast on his thoughts, but leaves it open to himself to fashion the form as he requires, and the framework varies accordingly, following his inclinations from day to day. The spontaneity of his thought, which has already been shown by the extreme rapidity with which the Concerti were composed—each in a single day at a single sitting, and many each week[1]—constitutes the great charm of these works. They are, in the words of Kretzschmar, grand impression pictures, translated into a form, at the same time precise and supple, in which the least change of emotion can make itself easily felt. Truly they are not all of equal value. Their conception itself, which depended in a way on mere momentary inspiration, is the explanation of this extreme inequality. One ought to acknowledge here that the Seventh Concerto, for example (the one in B flat major), and the last three have but a moderate interest.[2] They are amongst those least
- ↑ See the following dates: September 29, 1739, Concerto I in G major; October 4, Concerto II in F major; October 6, Concerto III in E minor; October 8, Concerto IV in A minor; October 12, Concerto VII in B flat major; October 15, Concerto VI in G minor; October 18, Concerto VIII in C minor; October 20, Concerto XII in B minor; October 22, Concerto X in D minor; October 30, Concerto XI in A major (Vol. XXX of Complete Edition).
- ↑ One sees French influences particularly in the Tenth Concerto (in D minor), which has an Overture (Grave in 4–4 time and Fugue in 6–8). The whole movement preserves an abstract and irregular character. The last of the six movements—an Allegro Moderate, with Variations (very pretty)—resembles a tune for a musical box.
