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While Dvorák was establishing a reputation in 1878, Brahms was adding
to his position of eminence with the composition of a violin concerto
which has become one of the absolute staples of the concert platform.
The first performance was on New Year's Day 1879 with Joseph Joachim,
the work's dedicatee, as soloist and the composer conducting the Leipzig
Gewandhaus Orchestra. This time in Brahms' life was a period of rich harvest
which included the four symphonies, the violin sonatas and some glorious
chamber music. The Violin Concerto was not universally well received.
Joseph Hellmesberger, one of Vienna's leading violinists, dismissed it
as "a concerto not for, but against, the violin." The adverse response
had the unfortunate effect of causing Brahms to feed the completed draft
of a second violin concerto to the fire - we can only regret the loss.
As ever with Brahms, he had doubts about the value of his composition
but gained invaluable advice from his lifelong friend, Joseph Joachim.
It was perhaps for Joachim that Brahms included a place towards the end
of the first movement for the rather out-dated solo cadenza - the only
time in any of his four instrumental concertos.
The work starts traditionally with an imposing orchestral statement
of the first movement's musical ideas before the flamboyant entry of the
soloist. The music is tightly constructed with an easy flow and a satisfying
exchange of thematic ideas between the soloist and the orchestra. The
slow movement starts with a ravishing wind serenade. Led by the first
oboe this is music reminiscent of the finest examples from Mozart's later
piano concertos. Finally the soloist enters to ruminate gently on the
opening expressiveness yet without directly quoting its two themes. The
virtuosic finale is full of high spirits with more than a hint of Brahms'
Hungarian mode.
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