The Brahms Violin Concerto: 8 Great Recordings


Johannes Brahms’ Violin Concerto in D major, Op. 77 stands with Beethoven’s Concerto at the pinnacle of the violin repertoire. No concerto unleashes the soaring, heroic power and poetic potential of the violin more profoundly than Brahms’. It’s music that runs the gamut between smoldering ferocity and tranquil introspection, encompassing a universe of expression.

Brahms’ forty-plus year friendship and musical partnership with the German violinist and composer Joseph Joachim (1831-1907) was central to the Violin Concerto’s inception. Beginning with an August 21, 1878 correspondence, Joachim offered Brahms technical and musical advice after seeing sketches of the concerto, which was originally conceived in four movements. With Brahms conducting (inadequately), Joachim gave a hastily prepared and technically insecure premiere on January 1, 1879 at the Leipzig Gewandhaus. This was followed by another slightly more successful performance in Vienna. But even Brahms’ most dedicated supporters, such as Joachim and the powerful Vienna critic Eduard Hanslick, seem to have needed time to warm up to the new composition. This initial lukewarm public reception and Joachim’s complaints of “awkward” violin passages show how profoundly Brahms’ Concerto pushed the envelope musically and in terms of violin technique. As affection for the work grew, Brahms wrote to a friend:

Joachim plays my piece more beautifully with every rehearsal, and his Cadenza has become so beautiful by concert time that the public applauded into my Coda.

As a composer, Brahms was haunted by the “footsteps of a giant,” Beethoven, whose music had profoundly changed the course of music history. Following the example of the Beethoven Violin Concerto, Brahms’ Concerto is set in D major and opens with a long orchestral introduction. From the opening of the first movement, there’s a sense that the music is searching for a way forward. Following the opening statement, the oboe takes us in a new, unexpected direction. Then, resolute octaves turn into chords and suddenly we know where we are. In the passage that follows, listen closely to the canon that develops between the high and low strings. The first movement’s introduction concludes with a ferocious buildup to the violin’s entrance. Notice the rhythmic instability Brahms sets up in the low instruments, which causes us to lose track of the downbeat. You’ll hear Brahms play these occasional rhythmic games throughout the movement, especially in the final bars.

The solo violin explodes onto the scene with its first entrance, as if unleashing all of the introduction’s tension. Listen to the way the strings snarl back at the solo line in this opening. The way the solo and orchestral voices fit together is a huge part of the drama of this piece. Joseph Hellmesberger, who conducted the Vienna premiere, accused Brahms of writing a concerto, “not for, but against the violin.”

One of this concerto’s most serenely beautiful moments is the first movement’s coda, following the cadenza. In these bars, time seems suspended and we almost hold our breath as the final tutti is delayed. Just when we think the violin can’t reach higher, it somehow does. As the movement inches towards its final resolution, listen to the quiet, suspended fanfare in the horns and woodwinds.

The second movement opens with one of the most tranquil and sublime oboe solos in orchestral music. This extended statement is the last thing we would expect in a violin concerto. The Spanish virtuoso, Pablo de Sarasate complained that he refused to “stand on the rostrum, violin in hand and listen to the oboe playing the only tune in the adagio.”

The final movement is a sparkling, fun-loving romp. You can hear echoes of the final movement of Max Bruch’s First Violin Concerto. Brahms’ opening theme apparently served as a model for Andrew Lloyd Webber’s pop song, Don’t Cry for me, Argentina from the musical, Evita.

Eight Great Recordings

Here are eight contrasting recordings of the Brahms Violin Concerto. Explore the list and then share your thoughts in the comment thread below. If you have a favorite recording that didn’t make the list, leave your own suggestion below.

Henryk Szeryng and the Royal Concertgebouw Orchestra

Henryk Szeryng’s 1974 recording with Bernard Haitink and Amsterdam’s Royal Concertgebouw Orchestra is one of the most inspiring recordings I’ve heard of this piece. There is a straightforward classicism to his approach. At the same time, the drama of the music shines through. The tempos on this recording capture the expressive weight of the music. Szeryng plays Joachim’s cadenzas:

Jascha Heifetz and the Chicago Symphony

This classic 1959 Heifetz recording, with Fritz Reiner conducting the Chicago Symphony, was my first introduction to the piece as a child. The searing intensity of this performance is unparalleled. With Heifetz’s trademark fast tempos, this is one of the most exciting, yet soulful performances you’ll hear:

Hilary Hahn and the Academy of St. Martin in the Fields

If you’re looking for a modern performance, you won’t go wrong with Hilary Hahn’s 2001 recording with Sir Neville Marriner and the Academy of St. Martin in the Fields. The motto of this CD might be, “opposites attract,” because the Brahms is coupled with an equally great performance of the Stravinsky Violin Concerto.

Bronislaw Huberman and the Philharmonic-Symphony Orchestra of New York

This historic, live 1944 recording of Bronislaw Huberman and conductor Artur Rodzinski in New York offers a unique slice of history. As a child, Huberman played the concerto in Brahms’ presence in Vienna in January, 1896. According to the biographer Max Kalbeck:

As soon as Brahms heard the sound of the violin, he pricked up his ears, during the Andante he wiped his eyes, and after the Finale he went into the green room, embraced the young fellow, and stroked his cheeks. When Huberman complained that the public applauded after the cadenza, breaking into the lovely Cantilena, Brahms replied, “You should not have played the cadenza so beautifully”…Brahms brought him a photo of his, inscribed, “In friendly memory of Vienna and your grateful listener J. Brahms.”

In his book, Great Masters of the Violin, Boris Schwarz recounts that someone overheard Brahms promise to write a short violin fantasy for the young Huberman, adding jokingly, “if I have any fantasy left.” But Brahms died the following year.

Julia Fischer and the Netherlands Philharmonic Orchestra Amsterdam

Julia Fischer’s 2006 recording with conductor Yakov Kreizberg is the most recent CD on the list. Fischer offers a Romantic and introspective reading, filled with mystery. The disk includes Brahms’ “Double” Concerto with German cellist Daniel Müller-Schott.

Anne-Sophie Mutter and the New York Philharmonic

Anne-Sophie Mutter recorded the Brahms early in her career with Herbert von Karajan and the Berlin Philharmonic (listen here). It’s interesting to compare that more straightforward interpretation with her later 1997 recording with Kurt Masur and the New York Philharmonic. The later recording is definitely more romantic with more emphasis on vibrato. Mutter’s dynamic range is also remarkably wide. I’d be interested in hearing your thoughts on which version you prefer.

David Oistrakh and the French National Radio Orchestra

Few “great recordings” lists are complete without a performance by David Oistrakh. Oistrakh recorded the Brahms Concerto several times. Otto Klemperer conducted this reverberant 1960 studio recording.

Ruggiero Ricci and the Sinfonia of London

This 1991 Ruggiero Ricci CD features sixteen cadenzas including those written by Ferruccio Busoni, Leopold Auer, Eugène Ysaÿe, Fritz Kreisler, Adolf Busch, and Nathan Milstein.

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.

29 thoughts on “The Brahms Violin Concerto: 8 Great Recordings”

  1. Excellent sampling of the Brahms violin concerto recordings with a mix of the mid century masters and new, younger artists. One other I might include is the often forgotten, due to his early death, is Michael Rabin’s recording of the Brahms, not to mention many other fine recordings.

  2. In my (un)humble opinion one of the best recorded performances is the one by Herman Krebbers (the former !st desk violinist of The Amsterdam Concergebouw Orch.) with Bernard Haitink conducting. (They also did an excellent Beethoven Concerto by the way. Their performances of both are fully competitive with the best of the more celebrated ones and may in fact be better than some!)

  3. Thanks so much for compiling these recordings in one place. I was impressed by your writing. The article was educational and a delight to read. Combined with your musical talents, you are obviously quite the artist.
    When I was 10 years old, I was fortunate enough to be in a repertoire class with Anastasia Jempelis at the Intermountain Suzuki Institute. Her energy was astounding!
    Good luck with your many pursuits, and thanks, again, for the article.

  4. My first exposure to this Brahms was a tv performance. I believe is was by berliner philharmoniker in late 70s or early 80s, by menuhin. I’ve forgotten who is the composer. I believe there is no cd recording of it. Very powerful strokes by menuhin. Henryk’s performance somehow reminded me of that tv performance. I’ve recorded it to a vhs and cassette. I lost both.

  5. Thank you for your work in assembling all these renditions – they are marvelous! In my father’s collection, I came across a burned CD of this Brahms concerto, but I do not know who the artist is. I listened carefully to each of these recordings you have here, but none of them is the one I have. The tempo is noticeably faster than most, but not quite as fast as Heifetz. The Huberman tempo seems just about right, but it definitely is not him. Ideas? I would love to know whose talents I am enjoying!

  6. I received this interesting comment from David Umlauf:

    “I have heard, all of your 8 favorite recordings of the Brahms. Like you, I’m very partial to the Heifitz recording. I’ve also been a long-time fan of Oistrakh, though of his recordings of the major concertos, I actually prefer his read of Beethoven Concerto.

    One that I would add to your list is Leonid Kogan/Kiril Kondarashin from about 1960. There’s an excitement in Kogan’s playing of this that I have always found appealing. To my ear, Kogan and Kondarashin had worked on the concerto, particularly the finale, for a long time, likely with many performances in concert and several “takes” in the recording studio. It is clear from the recording that these musicians knew one another well, enjoyed one another’s company and were both enthusiastic about this piece.

    Back then, as well, recordings were made essentially live(especially in old Soviet recording studios) rather than digitally altered as they often are in more recent programs. So you get the real thing.”

    Here is the excellent Kogan/Kondarashin recording he mentions:

  7. Fun site – thanks.

    I always hesitate to say that a recording is the best, but I do feel there are two violin recordings that tower above all. The first is Milstein/Fistoulari/Philharmonia for Brahms Concerto and the second is Szeryng’s first Bach sonatas and partitas set on Columbia.

    IMHO the reason these two surpass all others is the quality and uniqueness of tone the violinist makes in each recording. Milstein’s recording is every bit as exciting as that of Heifetz, but the beauty and individuality of sound Milstein makes is beyond human.

    Same goes for Szeryng and his Bach on tone – matchless beauty and distinctiveness.

  8. The last time I heard Sara Chang play was when she was 9 yeas old! When it was announced that she was about tp play Ithe Brahms I thought oh I wonder what happened to her! and how old is she now? This is most exception playing!!! beautiful sound, musicality and impeccable technique. I looked for the recording and could not find it. If you know anything about it please let me know!!!! I am a professional violinist and have heard and played the Brahms many times This was an overwhelming experience!!!! .Bira Rabushka

  9. Nathan Milstein w Steinberg cond Pittsburgh on EMI is top of my list. Ardent, romantic, celebratory. It feels like a gauntlet of tragedy to reach the glorious celebration of the finale.

    Also Szeryng in 1967, a live performance on Orfeo, w Kubelik cond Bavarian RSO
    passion galore and all of the technique of the later studio recording but with a more firm & sympathetic accompaniment from the orchestra.

    Efrem Zimbalist, a radio broadcast on Doremi, w Koussevitzsky cond Boston SO.
    The man just takes his time carving the lyrical lines while keeping perspective on the whole sentence.

    Adolf Busch’s brilliant 1943 performance w Steinberg cond NYP.

    There’s an Isaac Stern I heard ages ago that I really admired but dont remember which it was.

    Thank you for posting these recommendations. I’m eager to check the Fischer out especially!

    • Ooops! Milstein/ Fistoulari/ Philharmonia is top of my list.
      I have an EMI cd that couples it with the most amazing Milstein/Steinberg/Pittsburgh Tchaikovsky concerto.
      I got the 2 confused. :p

  10. Just discovered this site – thanks for compiling it: a great service to music-lovers.

    As an anecdote, I recall being taken to a concert at the Royal Albert Hall (in 1958, or possibly 1959) where Menuhin and Oistrakh played the Bach Double Concerto and then Oistrakh played the Beethoven with Menuhin conducting, followed by Menuhin playing the Brahms with Oistrakh as conductor. One of the great musical experiences of my life, despite the Hall’s ropy acoustics.

  11. I just finished listening to the 1962 Szeryng/Dorati/LSO recording from the first Mercury box and am stunned. I thought I knew the piece, with Heifetz and Oistrakh being particular favorites, but this recording had me hearing all sorts of details I never realized existed. When it finished I literally clapped by hands in appreciation. I had generally thought of a concerto as pitting soloist against orchestra, but the seamlessness and unity of conception between Szeryng and Dorati made me think the soloist and orchestra were an extension of one another, both working together to achieve what Brahms was dreaming of. Add a great performance of the Khachaturian concerto and you have what, for me, is a dessert island disk (pun intended). By all means hear the others, but don’t overlook this one!

  12. Many of the recordings I have not heard and so I have much to research which will not be difficult. Recently I came across a performance of the Brahms by Kyung Wha Chung with Sir Simon Rattle. I thought it was exquisite and I looked to see if anyone thought it worthy of inclusion. I had a recording of Kyung Wha Chung playing the Beethoven but I had to give it away in because I wanted to keep the Oistrakh so I really like Ms.Chung ‘s performances!

  13. Great list. But why, oh why, have you excluded the magnificent rendition of Fritz Kreisler, with his own masterful, moving cadenza?

  14. Wasn’t there some fellow called Kreisler who wrote a cadenza for the concerto? And seems to have recorded the concerto twice, at least?

  15. I concur with Dude’s assessment of Szeryng’s Brahms Concerto recordings. The 1958 w/Monteux is clearly the one for the ages.


Leave a Comment