As promised in the introduction, all my research and experiments have crystallised in the following clip of the performance as an example of the first part of the Poco Allegro. As mentioned during the Analysis of the Concerto, I made my own arrangement of the first tutti part (cc.25-41) for this recording, in which there were empty bars as it corresponded to the wind solos.
The figure of Viotti was a sensation in the field of violin performance, but in a way, who revolutionised the pedagogy of violin was Baillot's writings, with such a strong impact that we can still trace his clear influence even today.
It has been very powerful to see how the ideals of the Enlightenment and the critical thinking led to social revolution. Of course, this is common knowledge, but looking at it from the perspective of historical, musical, and aesthetic change has made me reappraise many facets of it. I have recognised the very touching beauty of this kind of Romantic, virtuosic expression, especially seeing what it has in common with the 18th century: the notions of affect, the rhetorical gestures, and in some cases the counterpoint (a dissonance is a dissonance, even in the 19th century).
And, of course, it is also exciting to see what stands in contrast and is new to what came before.
Of course, the apogee of Romanticism means pursuing more individualistic and original forms of expression. And with what we know now, and with renewed appreciation that comes from having studied Baroque and Romantic Music thoroughly, we are at liberty to experiment.
Let our "natural taste" be our guide.
As a future pursuits in the performance of early 19th-century repertoire in general, I see room for development in the practical application of renovated notions of tempo flexibility through experimentation with ensemble playing. Within the individual violin performance, exploring portamenti, different types of expressive fingerings and unusual bowing patterns would be a way forward.
In our case, Concerto No. 6 in particular, short-term plans would include the performance of the complete concerto and also several of his Caprices in my own final exam. If I could prove all the products of my research on a historical bow (or a lighter replica of the Tourte), I think that it would help me enormously. I do think that at that time, not all bows were homogeneous, and probably string players played as best they could with what they had, but I think that it would help me to solve some aspects of the performance that come from not having the perfectly adequate tool. I will try to arrange that for my final presentation.
As a very recent update, the Royal Library of Beligium had uploaded some of Libón's concertos in its digitised archive last week. I do not know if it was me who created the stir, but I anticipate and heartily welcome this renewed interest in his figure and his work.