The concert piece “Capriccio” for violin solo by the Petersburgian composer Alexey Mylnikov is generated in the so-called manner of eager for classics, the objective of which is in subsequent intentional adherence to the classical aesthetic in music art. Mylnikov’s exceptional classics conception was realized in his chamber-symphonic opuses (“Variations for Symphony Orchestra to the Theme BACH”, symphonies “Classical Interior” and “Magic Flute 2006” , personal piano school “Toy’s Birth”, duets and trios for clarinets, Capriccio for violin solo, Ricercare for cello etc.), being researched in details by I. S. Avramkova, O. Yu. Koshelev, M. B. Levchenko.
The structure of one movement includes three basic imaginative spheres.
Bars 1–16. Lyrical-dramatic monologue, where the pathetic question-exclamation passes paradoxically to the slowly descending cantilena that is displayed in the brief introduction.
Bars 17–55. The most significant scherzoso part of the piece, especially its feverish flinging syncopated theme (the second character), constructed according to the rules two-voiced part-singing, resembles the genre of invention.
Bars 59–79. The third element of dancing nature. This is a minuet, having imbibed refined style of Minuet, however, rushing in extremely rapid tempo.
Bars 80–176. Elaborative episode, built due to the previous elements development and leading to the culmination of the whole composition.
Bars 177–198. Dynamical recapitulation of the introduction theme outpour to the brilliant Baroque coda shedding splendour and anxiety.