Update Title: 2FDACB41-9836-4938-AD84-86BEB260E6FB

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Johannes Brahms dedicated his only Violin Concerto to the great Hungarian violinist, Joseph Joachim. Joachim’s suggestions have been sought by the composer for creating the solo part. At the same time Joachim wrote a Cadenza that met with Brahms’ approval and is perhaps the most often performed cadenza of the Concerto.

Some of Brahms’ contemporaries thought the Concerto to be un-idiomatic and jokingly called it “Concerto against the Violin”.

In reality, the fault lay in the violinists of the late nineteenth century, as the Concerto requires technical prowess and musical sensibilities beyond the abilities of most violinists of the era.

The great Czech pedagogue Otakar Sevcik, a friend of both Brahms and Joachim, understood that this new type of music required wide ranging and comprehensive techniques, together with study materials that would assist violinists in developing these techniques. By 1881, he published his epochal op.1, School of Violin Technique, and later followed by other major learning material.  To overcome technical difficulties Sevcik’s teaching method included exercises that are short, a measure or two long, for his students to practice. He also understood that different students had different weaknesses, so Sevcik wrote hundreds of these exercises, which allow students to concentrate on specific areas of development.

These “purpose exercises” proved to be very effective and popular with his students.  During the period 1929-1933, Sevcik’s compilation of these purpose exercises formed the core of a series of repertory-specific exercise books. Each of these volumes deals with a major work of the violin literature. Every conceivable problem is analyzed and a solution to overcome technical difficulties is offered. These are some of Sevcik’s best works, a virtual cornucopia of his pedagogical genius. Op.18 Analytical Studies for Concerto in D by Brahms and op.25 Study on the Joachim Cadenza are part of this publication.

This edition is the first to unite the critical Urtext versions of the Concerto, the Cadenza by Joachim with Sevcik op. 18 and op. 25.

Endre Granat
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