Discovering Brahms’ Violin Concerto in D Major, Adagio
Introduction
Lately I’ve found myself returning again and again to the same piece of music: the second movement (Adagio) of Brahms’ Violin Concerto in D Major, Op. 77.
I first stumbled across Brahms’ Violin Concerto in D Major, Adagio on the This is BBC Symphony Orchestra playlist on Spotify. It features Francesca Dego on violin. You can listen to the BBC SO version here.
This is BBC Symphony Orchestra playlist on Spotify.
The recording is part of Brahms & Busoni Violin Concertos released by Chandos Records.
A little background
I’ve always enjoyed listening to classical music, but don’t know a huge amount about music history. Through this blog I’m hoping to learn more, but as I seem to be drawn to emotional storytelling and big orchestras, it makes sense to start with the Romantic period (1820–1910) and Brahms. Here’s what I’ve learned…
What is a concerto?
A concerto is a soloist having a conversation with the orchestra.
A concerto is music written for a solo instrument and orchestra. If a symphony is the orchestra telling a story as a team, a concerto is a soloist having a conversation with the orchestra. Most concertos last around 30 minutes and have three movements, separated by pauses:
i. A fast, energetic one (presto or allegro).
ii. A slower, lyrical one (lento or adagio).
iii. A final, lively one (presto or allegro).
My impressions of the Brahms’ Violin Concerto in D Major, Adagio
Brahms’ Adagio begins with a beautifully warm oboe melody and feels personal, like a private reflection, or someone quietly humming a tune to themselves. At first, you don’t hear the violin, the orchestra plays alone and sets the atmosphere. When the violin comes in, it’s like a new voice joining the music, quiet at first then growing with more emotion. As it goes on, the sound becomes richer, sometimes gentle and sometimes a little sad. The whole movement continues at a calm pace, never hurrying, with long held notes and pauses that create a sense of space.
Excerpt from “Orchesterwerke Romantik Themen” (themes of Romantic orchestral works, 1842–1912). Scan by Eigenscan, via Wikimedia Commons. This work is in the public domain.
About the concerto
Brahms started writing the concerto in the summer of 1878, while staying by Lake Wörthersee in the Austrian town of Pörtschach, a place he loved for its peace and beautiful views. He wrote the solo part with his close friend in mind, the famous violinist Joseph Joachim. The two of them shared ideas as the concerto took shape. Brahms didn’t use all of Joachim’s advice, but his ideas still influenced the music.
The concerto was first performed in Leipzig on 1 January 1879, with Joachim playing the solo. Apparently the audience wasn’t quite sure what to think. Many people expected a showy piece full of flashy violin tricks, but Brahms gave them something more serious and thoughtful, almost like a symphony, where the violin is a part of a conversation rather than standing apart. That felt unusual at the time, but it’s what makes the concerto so admired today.
7 hidden secrets about Brahms’ Violin Concerto in D Major
1. It was meant to be bigger
Brahms first imagined the concerto with four movements, like a symphony. In the end, he cut it back to the usual three. That’s partly why it feels so large and symphonic. The orchestra often takes centre stage, making it sound like a mix of symphony and concerto.
2. The oboe takes the lead
Instead of giving the slow movement’s opening tune to the violin, Brahms gave it to the oboe. This gentle, wistful melody would have surprised audiences who expected the violin to take centre stage from the start.
3. Written by the water
Brahms wrote the concerto in the summer of 1878 while staying by Lake Wörthersee in Austria. Locals remembered him strolling and humming by the shore. The Adagio’s calm, flowing music seems to echo the stillness of the lake and the mountains around it.
4. Harder than it sounds
The piece isn’t about fast, showy violin passages. Its difficulty lies in keeping long phrases steady and expressive. Holding those drawn-out notes with strength can be just as demanding as playing quick runs.
5. The first performance divided opinion
When the concerto premiered in 1879, some critics complained that it was ‘a concerto against the violin’, saying the orchestra drowned out the soloist. Today, people see that balance as its strength, with violin and orchestra sharing the spotlight.
6. A musical thank you
Brahms dedicated the concerto to his close friend, violinist Joseph Joachim, who advised him while writing it. In the final movement, you can hear lively, folk-like rhythms, a tribute to Joachim’s Hungarian roots.
7. Old ideas, new life
Brahms often saved unfinished sketches to use later. Some of the themes in this concerto came from earlier scraps. It’s hard to believe they began as discarded notes, given how well they fit together.
About Brahms
Johannes Brahms, 1866. Public domain image from Wikimedia Commons.
Johannes Brahms (1833–1897) grew up in Hamburg, the son of a jobbing musician who played the double bass. To help the family, young Brahms earned money by playing piano in beer halls and dance venues - not glamorous beginnings, but they gave him a sense that music was as much about everyday life as it was about art.
His talent soon brought him into the circle of Robert and Clara Schumann, who became crucial champions. Robert even wrote that Brahms was destined to express the spirit of the age - a huge vote of confidence considering he was still only in his twenties.
Brahms was known for writing music that kept the balance and structure of Classical music, but still had the deep feeling of the Romantic era. While composers like Wagner and Liszt focused on dramatic operas and flashy performances, Brahms stuck to more traditional types of musi, like symphonies, concertos, and chamber music, and made them full of emotion, sadness, and passion.
He was also very self-critical with many scores never seeing the light of day. He destroyed anything he thought unworthy. What remains is only what he judged his best, which makes his surviving works all the more precious.
Johannes Brahms portrait by Rudolf Krziwanek, via Bergen Public Library / Flickr Commons. No known copyright restrictions.
In person, he could be blunt, but those close to him also knew a kind, loyal man. He never married, though his lifelong bond with Clara Schumann was one of his deepest relationships. He loved walking in the countryside, and perhaps that connection to nature explains the relaxed, expansive feel of his music. By the end of his life, he was celebrated as one of Europe’s leading composers, leaving behind symphonies, concertos, chamber music, piano works and more than 200 songs that still feel timeless today.
My composition takeaways
A clear, memorable melody can carry a whole section.
Think about who ‘speaks’ when. Holding something back can make it more powerful.
Even in slow music, contrast (soft versus strong, high versus low) keeps things alive.
Shifting between major and minor can change emotion.
Don’t fill every moment. Space and silence are just as important.
You don’t need technical fireworks to move people. A strong melody, space to breathe, and instruments ‘talking’ to each other are enough.
About the recording
This recording is part of Brahms & Busoni – Violin Concertos, released by Chandos Records (catalogue CHAN 5333; also a hybrid SACD edition CHSA 5333).
Violin: Francesca Dego
Orchestra: BBC Symphony Orchestra
Conductor: Dalia Stasevska
Recording dates: 4–5 July 2023
Venue: Phoenix Concert Hall, Fairfield Halls, Croydon, UK This recording was awarded the Premio Abbiati (Italian critics) in 2024.
Join the conversation
I’d love to hear your thoughts. Questions, reflections and ideas are all welcome. Comments appear straight away, but I’ll remove anything offensive, abusive, discriminatory or spammy. Please keep it respectful and on-topic, so everyone feels welcome. Thanks.
