Igor Stravinsky 
(1882-1971)

Violin Concerto in D Major
Composed 1931

Igor Stravinsky’s Violin Concerto is a masterful blend of neoclassical innovation and structural clarity. The idea for the concerto originated in 1930, when Willy Strecker of publisher Schott Music proposed that Stravinsky compose a piece for Samuel Dushkin, a young Polish-American violinist trained by Leopold Auer and Fritz Kreisler. Stravinsky, a pianist by training, initially hesitated, concerned about his lack of familiarity with the violin. Reassurance came from Paul Hindemith, who suggested that Stravinsky’s inexperience might yield novel ideas unburdened by routine violin technique. Encouraged, Stravinsky accepted the challenge, and a remarkable collaboration with Dushkin began.

Stravinsky’s approach to the concerto was highly collaborative. He frequently shared drafts with Dushkin, testing technical feasibility while steadfastly maintaining his artistic vision. A defining moment came early in the process when Stravinsky presented Dushkin with an unconventional four-note chord. Initially deemed unplayable, Dushkin later discovered that the chord was manageable in the violin’s high register and informed Stravinsky of its feasibility. This chord became the “passport” to the concerto, appearing in various guises throughout the work.

The concerto premiered on October 23, 1931, in Berlin, with Dushkin as soloist and Stravinsky conducting the Berlin Radio Symphony. Distinct from the virtuosic showpieces of the Romantic era, Stravinsky’s concerto emphasized clarity, dialogue, and chamber-like textures. The solo violin interacts dynamically with the orchestra, often engaging in duets with individual instruments, reminiscent of Bach’s Concerto for Two Violins.

Structured in four movements—Toccata, Aria I, Aria II, and Capriccio—the concerto balances rhythmic energy with lyrical introspection. The Toccata opens with the signature four-note motif, setting a bold and rhythmic tone.

The two Arias offer contrasting lyricism: Aria I unfolds as a contemplative, minor-key lament, while Aria II showcases flowing, sinuous melodies. The Capriccio finale is playful and dynamic, featuring rapid exchanges and syncopated rhythms, concluding the work with exuberant energy.

While initially received with modest enthusiasm, the concerto gained prominence over time. In 1972, George Balanchine choreographed it as Violin Concerto for the New York City Ballet, elevating its profile further. Today, Stravinsky’s Violin Concerto is celebrated for its ingenuity, wit, and seamless fusion of classical and modern elements, standing as a testament to the composer’s ability to reinterpret tradition with vibrant and fresh creativity.

Instrumentation – two flutes and piccolo, two oboes and English horn, two clarinets and E-flat clarinet, three bassoons and contrabassoon, four horns, three trumpets, three trombones, tuba, timpani, percussion, strings, and solo violin

Duration – 22 minutes

~ Kenneth Bean
Georg and Joyce Albers-Schonberg Assistant Conductor
Princeton Symphony Orchestra