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Dissonant Chords: A musical tale of heroes, Hitler, humanity and Hatikvah By Valerie Sobel (THE NEW BLITZ via Israpundit)

By   /   March 18, 2019  /   No Comments

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Mar. 18, 2019

Violin Concerto in D, Op. 77, by Johannes Brahms; a prolific artistic feat the great composer dedicated to his friend, distinguished Hungarian violinist, Joseph Joachim.

With time, Brahms grew somewhat disillusioned with the concerto, conceding the idea he will never hear what he put down on staff paper and what he hears in his head. Disappointed and frustrated, Brahms generally avoided all performances of his masterpiece. The composer almost caved to pressure at the relentless insistence of Viennese composer, Johann Strauss, to hear just one more performance of the concerto. In the end, Brahms politely declined the invitation, citing his limits with the oversaturation of mediocre playing at the hands of diamond dozen vaunted musicians.

But swelling curiosity had its own designs on Brahms just as a 13 year-old soloist was about to pick up the bow for Johannes’ mammoth composition. Only human, Brahms yields at the last possible moment, and unbeknownst to Strauss or anyone else, proceeds to take the last open seat in the remote balcony section of the concert hall.

A student of Joseph Joachim and a prodigy of his violinist father, Polish-born Jewish youngster with handsome looks, Bronislaw Huberman, takes the stage.

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