Uploaded November 2025 | Updated September 2026, 2 weeks ago
Anhalt Philharmonic Orchestra of Dessau conducted by Golo Berg. Mirjam Tschopp as the violinist.
I - Allegro moderato e molto maestoso (0:00) - Più tranquillo - A tempo (Allegro) - Più tranquillo - A tempo (Allegro) - Più tranquillo - Andante quasi recitativo (18:16) - Andante cantabile (21:10) - Sempre pesante - Appassionato ma sempre adagio - Sempre molto tranquillo - Molto moderato (29:02) - Meno mosso - A tempo - Meno mosso - A tempo - Meno mosso - A tempo (più allegro)
Klughardt's Violin Concerto was composed in 1895 at the latest, as it was published that year by E. W. Fritzsch in Leipzig. It was premiered in Dessau on October 28 of 1895, performed by the Ducal Court Chapel in Dessau under the direction of the composer, with Friedrich Seitz as the violinist. Subsequently Karl Prill, concertmaster of the Leipzig Gewandhaus Orchestra from 1891-97, played Klughardt’s concerto in Berlin, Magdeburg, Leipzig, Prague, Frankfurt am Main and Dessau, among other places.
The French virtuoso Joseph Debroux also took the piece into his repertoire, played it on February 20 of 1899 in Dessau under the composer’s direction and performed its Paris and St. Petersburg premieres. Written in a single movement, the concerto is characterized by the high degree of integration between soloist and orchestra, without one of the two playing its way into the foreground. Longer orchestral passages are lacking, and there is no expansive solo cadenza for the violinist. Sadly little more is known about the piece.
The concerto can be subdivided in several parts with different tempo marks, the first being a substantial allegro moderato in sonata form. It begins with a solemn orchestral introduction in forte, which introduces a seven-note motive that largely unifies the entire work. It is taken by the soloist and forms the basis of a broad and dotted D major main theme. A lyrical and cantabile second theme is then introduced by the soloist in piano, alongside clarinet, bassoon, violas and basses. A dramatic transition showcases the virtuosity of the soloist, leading to a solemn orchestral climax. Then a cadenza-like passage is punctuated by brief orchestral interventions, followed by a romantic response and a more playful and rhythmic interplay between soloist and other instruments.
The return of the seven-note motive in a climax signals the beginning of the development section, which is characterized by its dramatic tone, modulations and transformations of the themes with shared virtuosity of both orchestra and soloist. As mentioned before, the roles of soloist and orchestra are quite balanced, neither outshining the other as is heard with many other concerti. The material is then recapitulated in a varied way, before a calm and melodic diminuendo is suddenly cut off by dissonant B minor chords and the dramatic return of the seven-note motive.
The second section is a brief cadenza-like andante quasi recitativo, being monothematic in form. It opens with an D minor recitative for the soloist underpinned by the aforementioned motive. The music becomes more virtuosic and agitated as the andante unfolds, before seamlessly leading into the ensuing adagio cantabile in ternary form. The violinist introduces an expressive main theme in D minor, which unravels in a romantic and passionate way. The central section offers a contrasting melodic and cantabile theme in B-flat major, before the main theme its recapitulated in its key of D minor, then modulating to D major. Then a B minor transition leads us into the finale.
The molto moderato is also written in sonata form. It begins with a solemn D major orchestral introduction before the soloist introduces a rustic, dance-like main theme in 6/8. A melodic transition leads to a second theme that is very similar in character as the first. Follows a brief development section with a false fugato start. A dramatic B minor transition leads to the brilliant and jubilant recapitulation of the themes in D major, with the transition material being substantially expanded. After a cadenza passage for the soloist, the work ends with a determined coda on the main theme of the molto moderato.
Picture: "The Brushwood Gatherers Returning Home on a Winter Evening" (1895) by the German painter Adolf Stademann.
Musical analysis written by myself. Source: tinyurl.com/2a7avtyb
To check the score: tinyurl.com/22ylrsh3
Anhalt Philharmonic Orchestra of Dessau conducted by Golo Berg. Mirjam Tschopp as the violinist.
I - Allegro moderato e molto maestoso (0:00) - Più tranquillo - A tempo (Allegro) - Più tranquillo - A tempo (Allegro) - Più tranquillo - Andante quasi recitativo (18:16) - Andante cantabile (21:10) - Sempre pesante - Appassionato ma sempre adagio - Sempre molto tranquillo - Molto moderato (29:02) - Meno mosso - A tempo - Meno mosso - A tempo - Meno mosso - A tempo (più allegro)
Klughardt's Violin Concerto was composed in 1895 at the latest, as it was published that year by E. W. Fritzsch in Leipzig. It was premiered in Dessau on October 28 of 1895, performed by the Ducal Court Chapel in Dessau under the direction of the composer, with Friedrich Seitz as the violinist. Subsequently Karl Prill, concertmaster of the Leipzig Gewandhaus Orchestra from 1891-97, played Klughardt’s concerto in Berlin, Magdeburg, Leipzig, Prague, Frankfurt am Main and Dessau, among other places.
The French virtuoso Joseph Debroux also took the piece into his repertoire, played it on February 20 of 1899 in Dessau under the composer’s direction and performed its Paris and St. Petersburg premieres. Written in a single movement, the concerto is characterized by the high degree of integration between soloist and orchestra, without one of the two playing its way into the foreground. Longer orchestral passages are lacking, and there is no expansive solo cadenza for the violinist. Sadly little more is known about the piece.
The concerto can be subdivided in several parts with different tempo marks, the first being a substantial allegro moderato in sonata form. It begins with a solemn orchestral introduction in forte, which introduces a seven-note motive that largely unifies the entire work. It is taken by the soloist and forms the basis of a broad and dotted D major main theme. A lyrical and cantabile second theme is then introduced by the soloist in piano, alongside clarinet, bassoon, violas and basses. A dramatic transition showcases the virtuosity of the soloist, leading to a solemn orchestral climax. Then a cadenza-like passage is punctuated by brief orchestral interventions, followed by a romantic response and a more playful and rhythmic interplay between soloist and other instruments.
The return of the seven-note motive in a climax signals the beginning of the development section, which is characterized by its dramatic tone, modulations and transformations of the themes with shared virtuosity of both orchestra and soloist. As mentioned before, the roles of soloist and orchestra are quite balanced, neither outshining the other as is heard with many other concerti. The material is then recapitulated in a varied way, before a calm and melodic diminuendo is suddenly cut off by dissonant B minor chords and the dramatic return of the seven-note motive.
The second section is a brief cadenza-like andante quasi recitativo, being monothematic in form. It opens with an D minor recitative for the soloist underpinned by the aforementioned motive. The music becomes more virtuosic and agitated as the andante unfolds, before seamlessly leading into the ensuing adagio cantabile in ternary form. The violinist introduces an expressive main theme in D minor, which unravels in a romantic and passionate way. The central section offers a contrasting melodic and cantabile theme in B-flat major, before the main theme its recapitulated in its key of D minor, then modulating to D major. Then a B minor transition leads us into the finale.
The molto moderato is also written in sonata form. It begins with a solemn D major orchestral introduction before the soloist introduces a rustic, dance-like main theme in 6/8. A melodic transition leads to a second theme that is very similar in character as the first. Follows a brief development section with a false fugato start. A dramatic B minor transition leads to the brilliant and jubilant recapitulation of the themes in D major, with the transition material being substantially expanded. After a cadenza passage for the soloist, the work ends with a determined coda on the main theme of the molto moderato.
Picture: "The Brushwood Gatherers Returning Home on a Winter Evening" (1895) by the German painter Adolf Stademann.
Musical analysis written by myself. Source: tinyurl.com/2a7avtyb
To check the score: tinyurl.com/22ylrsh3
