Edito de Concerto for Violin and Orchestra, Op. 77 in D major: Allegro giocoso, ma non troppo vivaceJohannes Brahms 1833-1897 Violin Concerto in D major, op.77 It was the perfect partnership; Johannes Brahms, a composer at the height of his powers, supercharged by his recent successful exploration of orchestral form and colour through his second symphony ? and Joseph Joachim, the leading violinist of his generation eager to advise and steer a course to create a masterpiece of a concerto that would rank alongside that of Beethoven. The violin concerto of Brahms was a much-crafted work, in many respects a project over which his Hungarian friend Joachim, to whom the concerto is dedicated, had much influence. Brahms?s composition sparked controversy in that some critics considered it was not so much a concerto ? in which a solo instrument determines the development ? as a rhapsody on a symphonic scale with the violin as mere added-value. A leading Austrian violinist of the day, Joseph Hellmesberger, declared that Brahms?s creation was a concerto ?not for, but against, the violin?. This remark was countered a generation later by the Polish virtuoso Bronislaw Hubermann, who proclaimed the work was ?for violin against orchestra ? and the violin wins!?. Such ill-considered conclusions are a little more understandable when we take into account the fact that Brahms?s musical vocabulary had considerably expanded through his work in the symphonic form, and there was a risk that a solo instrument ? in particular, the violin ? could be tonally swamped by waves of full-blown orchestral writing. Certainly, Brahms had initially considered a four-movement concerto, which would have added fuel to the arguments of his detractors. But Brahms, who was a skilful pianist though no great shakes at the fiddle, confounded such expectations by wisely consulting his talented friend, through correspondence as well as face-to-face meetings. In the end, the middle movements were scrapped and Brahms rewrote the Adagio to take their place. Thanks to the meticulous co-operation between these two great musicians Brahms was able to master that fine balance between virtuoso solo writing for the violin and the lyrical and dynamic forces of an orchestra. Brahms worked on his concerto in the summer of 1878 in the southern Austrian resort of Pörtschach amid Carinthia?s spectacular mountains and lakes ? where only the summer before he had composed his Second Symphony, also in the key of D. The concerto received its first performance on New Year?s Day, 1879, in Leipzig with Joachim as soloist and Brahms conducting. The orchestra sets a dramatic mood before the violin is allowed to enter, presenting lyrical flights of melody and passionate exchanges with the other instruments that explore the solo violin?s complete range. The movement draws to a close with a cadenza which, originally, Brahms allowed Joachim to contribute. Over the years several other musicians have included their own, including Fritz Kreisler, Ferruccio Busoni, Leopold Auer and Sir Donald Tovey. On this recording Thomas Zehetmair plays his own cadenza. Wind instruments open the Adagio in delightful harmony with the oboe leading the melody ? one which the violin is soon to embrace and develop into a serene, soaring song. The concluding movement of Brahms?s Violin Concerto offers us a dashing display of virtuosity, full of fiery Gypsy passion and stirring dance rhythms ? a tribute that the composer?s Hungarian friend and adviser at that first performance would have relished. Thomas Zehetmair has re-edited a revised version of the concerto, published by Breitkopf and Härtel, which is performed here. Robert Schumann 1810-1856 Symphony no.4 in D minor, op.120 (Original Version ? 1841) Robert Schumann?s contribution to the development of the symphony in the nineteenth century is often overlooked, but the D minor work stands as an undisputed musical milestone along that long and sometimes torturous path. This symphony first came into being in 1841 and was in fact the second of the four Schumann wrote. However, its adventurous structure and its inter-related musical ideas were a little too advanced for its first audience in Leipzig and their lukewarm reception persuaded Schumann to set it aside. Ten years later, a heavily revised version was prepared for a performance in Düsseldorf. At first Schumann entitled this revision ?Symphonic Fantasy?, clearly hoping such a re-branding would make its ideas more acceptable. However, by the time the work was premièred in December 1852 Schumann had changed the title to Symphony no.4. By then German musical perceptions had broadened and it was warmly received. What makes this such a remarkable work is not so much the fact that its four movements are played without a break ? Mendelssohn had used this device in his ?Scottish? Symphony of 1842 ? but that a number of motifs introduced to us in the first movement recur and are explored and expanded upon throughout the symphony, linking the movements and giving the work a subtle unity. As far as his other three symphonies are concerned, each has indications of an overall theme Schumann plainly intended to illustrate ? the ?Spring? and ?Rhenish? titles are self-explanatory, and the composer had made no secret of the fact that the Second Symphony in C major reflected a period of deep depression ? but there are no such clues to the Symphony no.4, indicating that Schumann wanted the work to stand or fall on its merits as absolute music without reference to any non-musical subject matter. A sustained dramatic chord opens the Symphony no.4 in D minor while a passionate melody develops against this backdrop and grows in intensity. The excitement mounts as three motifs are introduced and worked into the texture. After an emphatic chord the Romanza is introduced by a melody for oboe against plucked strings. Schumann then brings in a solo violin to play a delicate, rippling tune which interweaves with the melody. A vigorous Scherzo interrupts this tranquil mood and its main theme is an inversion ? the notes of a musical phrase played upside down ? of one of the first movement?s motifs. Schumann also skilfully uses a theme ? played normal side up this time ? from the Romanza for this movement?s central and gentle contrasting trio section. The pace slows and a dignified passage, with the brass adding ceremonial splendour, gradually leads to three emphatic notes which lead us into the symphony?s finale. This is richly melodic music, again drawing upon the earlier motifs and at one point weaving them into an overlapping fugue-like section. After a coda, this passionate music drives on at helter-skelter speed towards its triumphant climax. © Richard Yates of the Newcastle Evening Chronicle