Born May 7, 1833, in Hamburg, Germany Died April ... - InstantEncore

CONCERTO IN D MINOR FOR VIOLIN AND ORCHESTRA, OP. 77
JOHANNES BRAHMS
Born May 7, 1833, in Hamburg, Germany
Died April 3, 1897, in Vienna, Austria
“One enjoys getting hot fingers playing it, because it’s worth it!”
– Joseph Joachim
In 1878, Johannes Brahms summered in Portschach in southern Austria, where he had completed
his second symphony one year prior. The lakeside was fruitful for him, and this year, he worked
during the summer and early fall on his Violin Concerto. In August, he wrote to his friend, violinist
Joseph Joachim, “After copying it, I am not sure what you can do with a mere solo part. Of course,
I would like you to make corrections; I had intended to leave you no excuse whatsoever – neither
that the music is too good, nor that it isn’t worth the trouble. Now, I would be satisfied if you write
a letter to me or perhaps mark the music: difficult, awkward, impossible, etc. I have just started the
fourth movement, so you can overrule the awkward passages at once.” Joachim promptly replied
with a marked copy of the part and a letter of his own: “It is a great, sincere joy for me that you are
writing a violin concerto (even one in four movements!). I immediately studied what you sent to
me, and you will note a few remarks and notes for changes, but without the score, one cannot
appreciate it. Most of it can be executed, and some parts have a quite original violinistic flair. I
cannot say whether everything can be played with ease in a hot concert hall until I have tried out the
whole.”
Throughout the compositional process, Joachim collaborated frequently with Brahms, adding
needed technical advice. Joachim was the soloist at the premiere at the Gewandhaus in Leipzig,
January 1, 1879. By almost any measure, the premiere was not a success, and Brahms immediately
began to edit and revise Op. 77. The Gewandhaus was not a good place for Brahms; his first piano
concerto (with Brahms as soloist and Joachim conducting) was performed there five days after the
premiere. It was judged with a firm thumbs down.
Brahms’ only Violin Concerto is cast in three movements (two inner movements removed before
the premiere, and an Adagio replaced them). A long introduction begins with a tender, waltz-like
theme sung by low strings and bassoons, preparing the way for an equally romantic theme for the
soloist. What has actually happened is a double exposition, a feature very in keeping with the large
scale of the movement. The development and recapitulation are colored by harmonic adventures,
rich textures, striking rhythms and heavy orchestration. In fact, the collaboration between soloist
and orchestra is so intense that often the soloist provides counter melodies while the orchestra
concentrates on the main ideas. Eduard Hanslick commented that it was a concerto written “against
the violin.” At the close, Brahms allowed Joachim the anachronistic privilege of creating his own
cadenza. At this premiere, Joachim’s cadenza was so successful that the audience applauded
immediately, well into the coda. Perhaps, as noted above, this was the only enthusiasm evinced by
the listeners.
The second movement Adagio opens with a long melody declaimed by oboe and supportive winds.
This spotlight on the oboe infuriated Pablo de Sarasate, who commented, “Do you think I should
fall so low as to stand, violin in hand, and listen to the oboe play the only proper tune in the whole
work?” However, Jean-Jacques Normand explained, “Le hautbois propose et le violin dispose.” The

soloist finally gets a turn, leading the music to its conclusion with a fair amount of attention and
opportunity.
A rip-roaring final movement, allegro giocoso, opens with a doubled-stopped, high-flying,
Hungarian-style theme. Brahms allows himself to indulge in endlessly jolly exuberance. For more
fun, he tosses in a lilting waltz and striking march. Eventually, the opening theme comes back for a
final bow with accompanied cadenza filled with gypsy fiddling style.
Only two years after the premiere, Brahms and Joachim, friends since 1853 when Brahms roomed
with Joachim in Gottingen, had a severe falling out, which lasted for two years. A reconciliation of
sorts did eventually follow, but the two never related with the intimacy and verve as before.
Joshua Bell was soloist under the direction of Mario Venzago for the orchestra’s last performances
of Brahms’ Violin concerto in June 2007.