The Patron, the Master and the Acolyte: Creative Collaborations around the Pfitzner Violin Concerto op. 34 (1923)

Abstract

Hans Pfitzner's violin concerto op. 34 (1923) was written for and is dedicated to the expatriate Australian violinist Alma Moodie. Although it has not become part of the mainstream violin canon, the concerto is expertly written for the violin. This article explores the creative interactions that influenced the composition of the work, premiered in Nuremberg in June 1924. In particular, I ask how Moodie may have imprinted, both from human and artistic perspectives, upon the style and form of the piece, and consider the influence of Werner Reinhart as the patron of both artists.