two violins in D minor (Op. 38, written in 1816). The tempo marking "Allegro maestoso" is also characteristic of contemporary French concerti, while the majestic beginning of the concerto in dotted rhythms has much in common with the French overture form. Mahling thus thought that, if the concerto was an arrangement, it was most likely one of Baillot or Kreutzer dating from around 1830. He distinguished five possibilities for the actual provenance of the concerto: Mozart, but dated later; a Mozart arrangement of another's violin concerto; another's arrangement of a Mozart violin concerto; a false attribution or thought attribution to Mozart for a later unrelated work by an unknown composer; a simple forgery (viz. the Adélaïde Concerto, a later violin concerto forgery also attributed to Mozart) Richard Kapp stated that players from the Czech Philharmonic Chamber Orchestra laughed when playing the piece, because a melody from the third movement is similar to that of the Czech Christmas carol Půjdem spolu do Betléma. This raises the possibility of the concerto having been written by a Czech composer. The true provenance of the K. 271a/271i concerto remains unknown and debated. All known recordings use the longer ending from Fuchs' copy; but only that of Jean-Jacques Kantorow uses the cadenzas originally found in the copies. References External links 7 Anonymous musical compositions 1777 compositions Compositions in D major Mozart: spurious and doubtful works