Toccata –  Aria I – Aria II – Capriccio

“This work was premiered on October 23rd 1931 in a concert on Berlin Radio by Samuel Dushkin, with myself conducting, and I pay my most heartfelt respect and express my wonder at his artistic achievement.” So wrote Igor Stravinsky (1882-1971) on the score of this violin concerto rather than a traditional dedication. The director of the Schott publishing house in Mainz introduced Stravinsky to Dushkin, who was a former pupil of the Hungarian emigré teacher Lipót Auer. Stravinsky was not immediately enthusiastic about the idea of writing a violin concerto. But then he was struck with an inspiring idea. He wrote down a three note chord. The bottom note was a D which could be played on an open string. The middle note was a ninth above it, an E, while above that soared a very high A. He showed this chord to Dushkin over lunch and asked him if it was playable. “No” was the curt reply. Seeing the composer's obvious disappointment, Dushkin went home to see if he could find a technical solution. He then rang up Stravinsky with the good news that it was indeed possible. After this, things carried on apace. Stravinsky made a study of the entire classical violin concerto repertoire, and soon decided that he would not follow the traditional design. Instead, he was attracted to a four part cyclic design, each section of which would begin with the famous three note chord. Two movements were fast and virtuosic (Toccata and Capriccio), and surrounded two more peaceful and melodic sections (Aria I and Aria II). The most characteristic property of the first movement, which has a three part, ABA structure exhibiting a broad range of characters, is its constant rhythmic pulse. In this respect, the listener is often reminded of Bach's concertos. The motifs are frequently playful and dance-like, but from time to time, deliberately create grotesque effects. The first Aria in D minor also falls into three sections. Its principal section is characterised by wide intervals sounded in the barely changing harmonies and solo violin part. The pulse of the middle movement becomes increasingly lively. After it unexpectedly becomes sluggish again, the peaceful song of the opening section returns. The second aria is in F sharp minor, and the solo violin material employs relatively smaller intervals by contrast. In places, the music is almost song-like. The Capriccio, as its title suggests, is capricious and fast. Just as in the opening movement, a dactyl rhythm prevails across long sections. Stravinsky also includes a brief episode featuring an evocation of noble salon music: more precisely a quotation from Fritz Kreisler's famous Schon Rozmarin melody. After an immense climax, the motto chord brings the composition to a close.

At the premiere, Dushkin gave a superb performance and enjoyed an immense success. The orchestra however, was not so impressive. We learn from the published interviews between Stravinsky and Robert Craft that after the performance, no less a musician than Paul Hindermith gave the Berlin Radio musicians a severe telling off for their musical deficiencies.