Beethoven’s Violin Concerto

Stern Recording of BeethovenBeethoven’s Violin Concerto in D major, Op. 61 set the standard for all violin concertos which followed, but you might not have known it at the first performance on December 23, 1806. According to legend Beethoven finished writing the solo part so late that Franz Clements, the violinist who gave the premier, was forced to sight read part of the concerto in the performance. In addition, Clements may have performed one of his own pieces in between movements, playing on one string with the violin held upside down. These antics suggest that the concert experience in Beethoven’s time may have been slightly less reverential than it is today. Many listeners in 1806 may have been overwhelmed by the scale and power of Beethoven’s shocking new music.

The Stern/Bernstein Recording

Let’s listen to Isaac Stern’s great 1959 recording with Leonard Bernstein conducting the New York Philharmonic. Pay attention to the way the orchestra and the solo violin interact. This dialogue between tutti (everyone) and solo is what gives a concerto its drama. In this concerto, Beethoven often gives the violin embellishing scale and arpeggio lines which float above the melody in the orchestra. The first movement grows out of five quiet timpani notes. Listen to the way these five notes come back in different forms throughout the movement.

  1. Allegro ma non troppo (0:00)
  2. Larghetto (23:44)
  3. Rondo (34:36)″]Find on iTunes″]Find on Amazon

The first movement is full of surprises. The five notes in the timpani provide a motivic seed, ripe for growth and development. The violins pick up this motive (0:25) but imitate it with a completely “wrong” note. Throughout the movement, Beethoven keeps us off guard, quickly alternating between moods. Just when we get lulled into lyrical complacency, we get a ferocious surprise (listen between 0:57 and 1:41). Beethoven musically provides “two sides of the same coin,” or in this case two sides of the same melody. At 1:40 the melody is sunny, in the major. Notice the way it changes to something slightly darker and more unsettling when it shifts into minor (1:55).

In the mysterious passage following 7:33 the “wrong note” is further developed. Pay attention to the way this moment of quiet musical confusion works itself out. In the tutti section which follows (8:27-10:32), the motive, which started out as five soft timpani notes in the opening, is now transformed into insistent, repeated fortissimo octaves dominated by the trumpets and horns.

Traditionally, the cadenza appears at the end of the first movement of a concerto (19:23). This is the moment when the orchestra drops out and the violinist improvises on the motives of the movement, showing off great technical skill. Later, it became common for performers to use established cadenzas. In this recording Stern plays a cadenza written by the legendary early twentieth century violinist, Fritz Kreisler.

Additional Links

Here is an excellent 1989 live concert performance by violinist Kyung Wha Chung and Royal Concertgebouw Orchestra conducted by Klauss Tennstedt:

In this clip Itzhak Perlman talks about his experience playing the concerto and what makes it so difficult:

Schnittke’s Cadenzas

Twentieth century Russian composer Alfred Schnittke (1934-1998) wrote cadenzas for the Beethoven Concerto which offer a uniquely modern perspective. Interestingly, Schnittke not only uses the motives of the piece, but includes quotes from the Brahms, Shostakovich (First), and Alban Berg violin concertos. Schnittke also incorporates the timpani into the cadenza. Here is Gidon Kremer playing the cadenzas to the First Movement:

Schnittke’s cadenza for the third movement brings back motives from the first movement:


Share your thoughts on this remarkable piece in the thread below. What was your experience listening to the cadenzas by Schnittke? Do they enrich the piece or do they seem jarringly out of place? Do you have a personal favorite recording of the Beethoven Concerto?

About Timothy Judd

A native of Upstate New York, Timothy Judd has been a member of the Richmond Symphony violin section since 2001. He is a graduate of the Eastman School of Music where he earned the degrees Bachelor of Music and Master of Music, studying with world renowned Ukrainian-American violinist Oleh Krysa.

The son of public school music educators, Timothy Judd began violin lessons at the age of four through Eastman’s Community Education Division. He was a student of Anastasia Jempelis, one of the earliest champions of the Suzuki method in the United States.

A passionate teacher, Mr. Judd has maintained a private violin studio in the Richmond area since 2002 and has been active coaching chamber music and numerous youth orchestra sectionals.

In his free time, Timothy Judd enjoys working out with Richmond’s popular SEAL Team Physical Training program.

2 thoughts on “Beethoven’s Violin Concerto”

  1. Isaac Stern’s recording with Bernstein conducting is of course one of the greatest recording of this concerto ever made.
    It’s well known that Gidon Kremer likes Schnittke’s music. I don’t like these cadenzas (what are the timpani making here?) Beethoven’s own writing in his last quartetts is much more modern than this!….
    My prefered recordings are:
    – Yehudi Menuhin with Furtwängler conducting the Philharmonia Orchestra (EMI) or the fantastic live recording of august 1947 with the Lucerne Festival Orchestra (Testament)
    – Itzhak Perlman with Carlo Maria Giulini conducting the CSO (EMI)
    – Anne-Sophie Mutter with Kurt Masur conducting the NYP (DG)
    – Zino Francescatti with Bruno Walter conducting the Columbia Symph. Orch (Sony)
    and above all:
    – Christian Ferras outstanding live recording with Joseph Keilberth conducting Orchestre National de France (Disques Montaigne) however it’s quite impossible to find it since many time (not reissued)
    a special mention for Jascha Heifetz (RCA), but the tempi adopted by Charles Munch conducting the BSO are too fast from my point of view.

    Kind Regards

  2. A few points to be made:
    – whatever you may like or not like about Stern’s recording, it is the result of about 1,000 cuts, so if you are looking for a recording that is even only a bit close to a performance, this ain’t it.
    – the sforzati on the first 16th notes in the first violins during the first tutti are NOT from Beethoven–nowhere in the score! This is from a bad second copy. Those on the quarter notes are correct.
    – we know of the intended tempi from Beethoven’s pupil, Czerny: 1st mvt. 126 to the quarter; 2nd 60; 3rd 100 to the half bar. So, maybe you don’t like Heifetz, but his chosen tempi are closer to what the composer wanted than almost anybody!
    – rondo: here the autograph is quite clear about phrasing and articulation: G string, first two notes tied with a dot on the D.


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