Double Concerto for Violin and Cello in A minor, Op. 102 Cover Image

Double Concerto for Violin and Cello in A minor, Op. 102: Full Orchestra Part

$15.00 USD
$15.00 USD
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Double Concerto for Violin and Cello in A minor, Op. 102 Cover Image
Double Concerto for Violin and Cello in A minor, Op. 102: Full Orchestra Part

Double Concerto for Violin and Cello in A minor, Op. 102: Full Orchestra Part

By Johannes Brahms

Item: 36-A134848
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Description
Johannes Brahms (1833-1897) composed the Double Concerto in A minor for Violin and Cello, Op. 102 in 1887, marking his final work for orchestra. Written for cellist Robert Hausmann and estranged friend and violist Joseph Joachim, the concerto functioned as a gesture of reconciliation with the latter. It premiered on October 18, 1887, at the Gürzenichsaal in Cologne, Brahms himself at the podium. Instrumentation: 2.2.2.2: 4.2.0.0: Timp: Str (9-8-7-6-5 in set): Soli Violin, Cello.

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Additional Details
Series: Kalmus Orchestra Library
Publisher: Keiser Productions, Inc.
ISBN10: 8-88-852723-0
ISBN13: 979-8-88-852723-8
UPC: 676737969677
SKU: 36-A134848
Instrumentation: 2.2.2.2: 4.2.0.0: Timp: Str (9-8-7-6-5 in set): Soli Violin, Cello

More about this title

About the Composer: Johannes Brahms

Johannes Brahms (1833-1897) stands as one of the most consequential composers of the Romantic era, bridging the symphonic tradition of Beethoven with the expressive innovations of his time. His orchestral works, including four symphonies, multiple concertos, and the Academic Festival Overture, demonstrate a mastery of large-scale form and instrumental color that continues to define the orchestral canon.

Why we love this

This is Brahms at his most reflective and reconciliatory, a work composed at 54 as both a farewell to the orchestra and a bridge to a lifelong artistic rift. The concerto's emotional weight and sophisticated orchestration reward the maturity of an advanced ensemble, while the dialogue between violin and cello creates an intimate chamber-music sensibility within a full symphonic context.

What to expect

Autumnal and contemplative, with moments of passionate dialogue between the two solo voices set against a richly colored orchestral backdrop. The work moves between introspection and dramatic intensity, capturing both the resignation of farewell and the warmth of reconciliation.

Who it's for

Orchestras with experienced string sections and accomplished concertmaster-level violinist and cellist soloists. This work demands technical security and musical sophistication from both the solo line and the supporting ensemble.

How to get the most out of it

  • Balance the soloists with the orchestral tuttis by ensuring the string sections (particularly first and second violins) don't overwhelm the concertante writing; the work's strength lies in textural clarity rather than mass sound.
  • Shape the opening tutti to establish the melancholic A minor tonality without rushing; Brahms builds momentum gradually, and a patient approach in early rehearsals pays dividends in the solo entries.
  • Give the horn quartet particular attention during their sustained passages; their warmth in the background supports the soloists' lyricism and defines the work's harmonic foundation.

How to use it

Position this as a centerpiece concert work rather than an opener; its emotional arc and length demand an audience prepared for serious listening. Pair it with shorter Brahms overtures or works by contemporaries to frame it within the composer's orchestral legacy.

Skills your students will build

  • Balancing solo and tutti sections in a concerto grosso texture
  • Sustaining long-lined orchestral accompaniment without rhythmic or intonational drift
  • Understanding harmonic movement within the Brahmsian harmonic vocabulary (chromatic voice-leading, unexpected modulations)
  • Managing orchestral sound color through careful dynamic shaping and part independence

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