Violin Concerto No. 4 in D major K.

218 was composed by Wolfgang Amadeus

Mozart in 1775 in Salzburg. The autograph of the score is preserved in Biblioteka
Jagiellońska, Kraków.[1]

[edit] Structure
The concerto has the usual fast-slow-fast structure and lasts around 23 minutes. The
movements are:

1. Allegro-Sonata Form
2. Andante cantabile
3. Rondeau (Andante grazioso - Allegro ma non troppo)
4. The gigue (French pronunciation: [ʒiɡ]) or giga (Italian: [ˈdʒiːɡa]) is a lively
baroque dance originating from the British jig. It was imported into France in
the mid-17th century [2] and usually appears at the end of a suite. The gigue
was probably never a court dance, but it was danced by nobility on social
occasions and several court composers wrote gigues.[3]
5. In early English theatre, it was customary to end a play's performance with a
gigue, complete with music and dancing.[3]
6. A gigue is usually in 3/8 or in one of its compound metre derivatives, such as
6/8, 6/4, 9/8 or 12/16, although there are some gigues written in other metres
(for example, the gigue from Bach's first French Suite (BWV 812), which is
written in 4/4). They often have a contrapuntal texture. It often has accents on
the third beats in the bar, making the Gigue a lively folk dance.
7. Composers known to have famously used the Gigue include Johann Sebastian
Bach and George Frideric Handel.

8.
9.
10. Another gigue rhythm[1].
11. [edit] Etymology
12. An early Italian dance called the giga probably derives its name from a small,
accompanying stringed instrument called the 'giga'. Historians, like Charles
Read Baskerville, claim that use of the word in relation to dancing took place
in England prior to such usage on the Continent. Also, giga is probably a
separate etymology.[3]

Sarabande

For the Jon Lord album, see Sarabande (Jon Lord album).

In music, the sarabande (It., sarabanda) is a dance in triple metre. The second and
third beats of each measure are often tied, giving the dance a distinctive rhythm of
crotchets and minims in alternation. The crotchets are said to have corresponded with
dragging steps in the dance.
The sarabande is first mentioned in Central America: in 1539, a dance called a
zarabanda is mentioned in a poem written in Panama by Fernando Guzmán Mexía.[1]
Apparently the dance became popular in the Spanish colonies before moving back
across the Atlantic to Spain. While it was banned in Spain in 1583 for its obscenity, it
was frequently cited in literature of the period (for instance in works by Cervantes and
Lope de Vega).[2]

Later, it became a traditional movement of the suite during the baroque period,
usually coming directly after the Courante. The baroque sarabande is commonly a
slow triple rather than the much faster Spanish original, consistent with the courtly
European interpretations of many Latin dances. This slower, less spirited
interpretation of the dance form was codified in the writings of various 18th century
musicologists; Johann Gottfried Walther wrote in his Musicalisches Lexicon (Leipzig,
1723) that the sarabande is "a grave, … somewhat short melody," and Johann
Mattheson likewise wrote in Der Vollkommene Capellmeister (Hamburg, 1739) that
the sarabande "expresses no passion other than ambition"[3].

The sarabande form was revived in the late-nineteenth and early twentieth centuries
by composers such as Debussy and Satie and, in different styles, Vaughan Williams
(in Job) and Benjamin Britten (in the Simple Symphony).

In 1976 ex-Deep Purple organist Jon Lord based his album Sarabande entirely on the
concept of a baroque dance suite. Performed by the Philharmonia Hungarica and a
selection of rock musicians (including Andy Summers on guitar, who would later join
The Police), the album mixes classical and rock influences.

Perhaps the most famous sarabande is the anonymous La folie espagnole whose
melody appears in pieces by dozens of composers from the time of Monteverdi and
Corelli through the present day