The first movement of the Double Concerto is among the most formally fascinating Brahms composed. It adheres loosely to the strictures of sonata form, but whenever themes reappear, Brahms varies them somehow, even in the recapitulation. The exposition of themes at the beginning of the movement progresses in a surprising fashion, and the concept of the exposition repeat, a standard feature of 19th-century sonata form and usually a true verbatim repeat, is approached with great freedom by Brahms here.
The andante recalls the gentle lyricism of many of Brahms’ other orchestral slow movements. A little, two-note introduction, played first by the horns, then by all the winds, prefaces the simple opening melody, which is played by the soloists and the strings, colored by flutes, bassoons, and clarinets. The central section begins with the winds, over a pizzicato string chord.
The sonata-rondo finale begins with a cello solo, and is then taken up by the violinist before erupting with surprising vehemence from the full orchestra.
The soloists introduce the rich, second theme before the first one returns, fragmented and played by the soloists, then by bassoon, oboe, and flute to begin the development.
The Concerto concludes with three final, loud chords, a massive and simple gesture that ends a concerto whose austere surface obscures countless musical and formal riches.
Here are two giants in music to play this for you:
