![]() 102.īy combining a violin and cello for the solo portions of his final orchestral work, Brahms was able to create a “super” stringed instrument with a sonority and range that neither alone could offer. In the 20th century Charles Ives, Harry Partch, John Cage and others managed to act on such impulses, but in the Romantic era it was Johannes Brahms (1833 – 1897) – ironically among the most conservative standard-bearers of his time – who led the way in his 1887 “Double” Concerto for Violin and Cello, Op. I imagine that composers often must dream of wondrous new instruments that transcend the sonic fetters of their time to realize their most far-reaching visions. In this article, we note the inspiration for the Double Concerto to restore Brahms's friendship with the great violinist Joseph Joachim, its cold initial reception, its predecessors, its structure, some of its most impressive recordings, and then some sources of information, both for this article and for further reading.ĭreams free us from the constraints of reality and enable us to strive for the ideal. ![]() 102, is the remarkable realization of a composer's dream - to create a new "super" instrument that transcends customary limits. Johannes Brahms' Double Concerto for violin, cello and orchestra, Op.
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