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Brahms. Violin Concerto. Double Concerto for Violin and Cello. Wilhelm Furtwängler. Yehudi Menuhin, violin. Willi Boskovsky, Violin. Emanuel Brabec, cello. Lucerne Festival Orchestra. Vienna Philharmonic Orchestra. 1949. 1952.

Dear friends, we completed deliveries of the Brahms symphonies conducted by Furtwängler and published by EMI with the last album, concertante works for his amazing Violin Concerto and the great Double Concerto for Violin and Cello, his last orchestral work. So we pay homage on the day of his birth to the genius of Hamburg.

Violin Concerto was composed by Brahms in 1878 and was dedicated to his friend the violinist Joseph Joachim who was responsible for its release on January 1, 1879 with Brahms conducting the Leipzig Gewandhaus. Some of the material was initially going to be a fourth movement was later used by Brahms in the preparation of the Second Piano Concerto.

Artwork Brahms' compositional maturity in his gestation had an important contribution resulting in a concert Joachim technically very polished and refined (Brahms was not an expert on the violin unlike what happened with the piano). It's a great combination of writing for soloist and orchestra resulting fantastic fusion of both "tools" in one direction: the overall beauty of the whole. In its development we hear phrases romantic character sensational, sensual, lyrical alternating with higher energy, impulsiveness and sometimes even dramatic. In other post we hear another great version of the Violin Concerto and comment more about it.

In the interpretation we now see back to the magical union of two musical geniuses and human Menuhin and Furtwängler. Among the violinists I've heard, it is always difficult to make an assessment of their qualities, first starting with my lack of technical knowledge and secondly my mood variability, but I have to confess that Menuhin is perhaps the that most directly touches my nerve. Has a unique sound neat, emission control is always fantastic and mainly very, very emotional in their approaches to musical works. Always awakens the beauty in my heart. On this occasion the same thing happens to me with his fantastic interpretation of Bruch concert: I find it moving. The union is achieved with Furtwängler such that the final result is of extreme beauty. Absolutely wonderful concert to which we must add, in its assessment, the fantastic interpretción offered by the Festival Orchestra. A concert to simply enjoy the beauty of music.

Menuhin and Furtwängler

The Double Concerto for Violin and Cello is an outstanding example of classical-romantic concert and an exhibition concertante incredible combination of instruments. It was composed by Brahms in the summer of 1877 premiere taking place in Cologne on October 18, 1877 conducted by Brahms himself and interpreted by the recipients of the same: the cellist Robert Hausmann and violinist Joseph Joachim (a tribute to Brahms to the latter after the "discrepancies" that marked personal previous stage of the relationship between the two). Both musicians Brahms company for several German cities on a concert tour. Music Critics were certainly not favorable even the closest friends of the composer.

work difficult and perhaps less captivating than his concertos for piano or violin concerto, it nevertheless extremely beautiful. In his composition again Joachim provided invaluable aid to working closely Brahms in writing of the solo or even suggest a topic Viotti concert for inclusion in the new work of master Brahms. Be that as it may, the fact is that the work was criticized as boring and with little future. But over the years has become a highly valued and prized piece. I recommend listening to this other approach to the Double Concerto we left earlier in the blog.

In the interpretation of this record, Furtwängler is accompanied by two outstanding musicians, members of the orchestra itself Vienna, Willi Boskovsky the violin and the cello Emanuel Brabec. Both with a portentous Vienna Philharmonic Orchestra and an outstanding and passionate Futwängler leave us a wonderful recreation of the work. Beautiful, with a special warmth, a feeling and drive unparalleled momentum of deep love for the work that runs through the interpretation, a relentless momentum, emerging from the greatest respect for music that they loved. The soloists recreate the feeling and passion for music and sound decision helps to accentuate the feeling of passion at the same energy and vitality. A superb performance, amazing and stunningly beautiful. I sincerely recommend that you re-create the wonderful sound and beauty of this approach, enjoy music exceptionally beautiful and intensely passionate.