If stylistically evaluated, Wieniawski evolved dramatically from his first concerto. The Violin Concerto No. 1 earned him substantial recognition in his early career and it was also a hit at that time. However, today, he is more remembered for his Violin Concerto No. 2. He improved the musical structure and developed a dramatic backbone in the composition to sooth the ears of the audiences. At the same time, he did not forget to integrate the conventional flashy and glamorous elements of a concerto.
Wieniawski’s the Violin Concerto no. 2 consisted of three movements’ namely allegro modereto, andante non troppo and allegro con fuoco-allegro moderato. The first movement began with the orchestral exposition of a sudden melody. Afterward, the lyrical web slowly prevailed by the violin. The movement was dominated by explicit work of finger which was quite unusual to listen to. Wieniawski’s technical prowess in music was noted when he carefully avoided using cadenza. The thematic aspects of the movement have been directly introduced by the orchestra. The first and second themes can be noticed in the home key of D minor and F major respectively.
The return of the first theme led to the climax and welcomed the soloist who brought in a lyrical mood. This exceptional allegro moderato was followed by the romance or the andante non troppo. B-flat major was the key for its movement and the violin enchanted with one of the most charming melodies. The climax quickly preceded by the ending as the music rose. The scale of the violin was rising and it was rightly accompanied by the orchestra. The allegro confuoco or allegro moderato, a la zingara, comprised a violin solo and anticipated a bohemian rondo movement. The second theme was returned with the soloist and filled in the missing link of his first concerto.