deserved recognition and a very secure place in the repertoire. A later advocate of the work, Bronislaw Huberman would answer Bülow’s criticism with the words: “Brahms’ concerto is neither agamstthe violin nor forviolin with orchestra but...for violin against orchestra - and the violin wins.” The main theme of the first movement (Allegro non troppo) is an- nounced by violas, cellos, bassoons and horns. This subject, and three contrasting song-like themes, together with an energetic dotted figure, marcato, furnish the thematic material of the movement. The solo violin is introduced, after almost a hundred measures for the orchestra alone, in an extended section, chiefly of passagework, as a preamble to the exposition of the chief theme. With great skill, Brahms unleashes his two essentially unequal forces: the tender, lyric violin and the robust orchestra. In the expansive and emotional development, the caressing and delicate weaving of the solo Instrument about the melodic outlines of the song themes in the orchestra is most unforgettable. A particular high point is provided when the long solo cadenza merges with the serene return of the main theme in the coda that concludes the movement. This feature is even more pronounced in the second movement (Ada gio), where a dreamy oboe introduces the main theme against the back- ground provided by the rest of the woodwinds. The solo violin, makes its compliments to the main theme, and announces an ornamental second theme. Adding the warmth of its tone, the soloist proceeds to embroider its arabesques and filigrees upon the thematic material with captivating and tender beauty. The Finale (Allegro giocoso, ma non troppo vivace) is a virtuoso’s tour de force, built upon a compact rondo structure, containing three dis- tinct themes. The jovial main theme, in thirds, is stated at once by die solo violin. The thematic material and its eventual elaboration provide many hazards for the soloist: precarious passagework, double-stopping and arpeggiated figurations. But the music, inhabiting the carefree world of Hungarian gypsies, is quite spirited and fascinating - music of incisive rhyth- mic charm and great zest, which in turn pays tribute to the composer’s friend and colleague, Joachim. After the proceedings accelerate to a quick march tempo based on the main theme, the brilliant coda finally slows down to bring the concerto to its elegant conclusion. @ 1994 Columbia Artists Management Inc.
