Bologne’s style

Le Mozart Noir While there are superficial similarities between the two composers – ambitious fathers, both inhabiting the world of musical classicism – Bologne’s nickname ironically also highlights Mozart’s (below) much greater range and profundity. Influences With the cultivation of the singing line at its heart, the early Classical style was a natural fit for Bologne. But as a virtuoso violinist he was appreciative of the exuberant brilliance of the Italian school and alert to Germany’s tempestuous Sturm und Drang movement.

Violin Concerto Saint-george introduced himself as a soloist with a pair of his own violin concertos, and throughout the 1770s composed another dozen or so, showcasing his dazzling technique. Adopting the Vivaldian threemovement model (fast-slow-fast) as his starting point, he often concludes with a graceful, humorous rondo. Symphonie concertante The French enthusiasm for the symphonie concertante did not go unnoticed by Mozart and Haydn, but Paris was its spiritual home. Descended from the Baroque concerto grosso it pits multiple solo instruments against the orchestra – in Saint-george’s case usually two violins, though his Op. 10 is also scored for viola.