Beethoven’s Only Violin Concerto

Ludwig van Beethoven wrote only one full violin concerto – Op. 61 in D major. Many of his concertos were written for Beethoven himself to play on the piano with an orchestra, but his violin concerto was designed to highlight the virtuosity of a solo violin. Before this piece was finished in 1806, Beethoven’s only other music written specifically for violin included an unfinished “Violin Concerto in C,” and two Romances for violin.

Beethoven wrote this concerto for Franz Clement, a talented violinist, pianist, and composer, for a benefit concert in December 1806. Beethoven saw Clement as a virtuoso capable of performing the piece with both the emotion and the skill necessary to do it justice. Some historians believe that the piece was finished so close to the start of the concert that Clement had to sight-read part of the concerto. This underprepared performance led to a lukewarm reception and the piece hardly saw the stage until its revival in 1844, well after Beethoven’s death.

Violinist Joseph Jaochim, who was 12 years old at the time, played Beethoven’s violin concerto with Felix Mendelssohn as the conductor and the orchestra of the London Philharmonic Society. This revival brought the emotional and technical complexity of the piece to life. The piece became a vital part of violin repertoire, inspiring the works of Mendelssohn and other prominent composers to emulate the delicate blend between emotion and skill that Beethoven infused into his composition.

The concerto is in three movements: Allegro ma non troppo (D major), Larghetto (G major), and Rondo: Allegro (D major). The solo violin is accompanied by the following instruments: flute, oboe, clarinets in A and C, bassoon, horn in D and G, trumpets in D, timpani, and strings. 

The first movement is known for its complexity and length, with both lyrical solo sections as well as bolder sections with the full ensemble. The melodies shift between tenderness, triumph, and tranquility as the key modulates to its parallel minor and back to major, emphasizing the emotional depth of the movement.

The second movement evokes a keenly developed sentiment of warmth and majesty. The violin’s delicate melodies rest on top of the reposeful atmosphere created in the orchestra. The result is a manifestation of Beethoven’s extraordinary capability to convey profound emotions through somewhat simple musical ideas.

The third movement is a vibrant display of both Beethoven’s compositional prowess as well as the technical skills of the solo violinist. The so-called “hunting horn” main theme is recurring between passages that vary in the density of the orchestration and both major and minor melodies. The contrast between sections provides a sense of buoyancy that all comes together with a virtuosic coda to end the concerto.

Beethoven’s innovative approach to the integration of the solo violin with the orchestra inspired a new standard for violin concertos. His attention to the importance of form, key modulation, and the dialogue between the soloist and the orchestra are what set this piece apart from the other violin concertos of its time. The orchestra frequently sets up thematic elements before the violin takes over, creating an intricate journey that engages the listener throughout the concerto. Beethoven’s Violin Concerto serves as a timeless reminder of his genius and the impact that his work has had on composers, musicians, and popular culture to this day.

Hear Beethoven’s Violin Concerto conducted by Carl St.Clair on February 5-7, 2026. Get tickets.