<P> The first movement is in a sonata form . It begins with a first theme material in a lengthy introduction by the orchestra . The theme develops and after a brief transition leads to the second theme material in measure 41 . The second theme material dies away and the orchestra suddenly bursts in at m . 78 with the closing section . The solo violin enters at m . 90 with a strong statement in martelé followed by a series of chords that bring on the long arpeggio section . After the long arpeggio section, the solo violin finally reaches the first theme in measure 136 . The first theme is worked out with its beautiful melodies until it reaches the strong chords in measure 164 . The chords again turn to the arpeggio section . The new second theme of the solo exposition is introduced in measure 206 . The solo violin bursts in with the closing theme at m . 246 . This leads to an intense section that finishes the exposition . The development section has a soulful melody that soon turns into a dreamy passage . After a sudden forte section, the solo violin enters with angular material . The recapitulation begins at measure 381 . The coda begins at measure 527 following the cadenza . </P> <P> The second movement is in three parts . The A section begins with the melody by the solo oboe with orchestral accompaniment . Finally, the solo violin takes over the melody in measure 32 . The B section begins at measure 56 with a passionate solo violin melody . After an undulating and fiery section, the solo violin returns to the A section in measure 78 with the melody played by the orchestra . </P> <P> The third movement is in a rondo form . The A section begins with a cheery theme by the solo violin and crisp accompaniment underneath it . After a theme played as a double - stops by the solo violin, the B section begins in measure 35 with light solo violin and accompaniment . This soon turns to a series of scales in legato which brings in another rhythmic melody by the solo violin . The solo violin reiterates the main melody in measure 93 which indicates the return of the A section . After the condensed version of the A section, the C section begins in measure 108 with graceful arpeggios . In measure 143, the solo violin enters with the materials from the B section . Finally, the solo violin brings in the main melody from the A section in measure 187 . The A section leads to a new section that starts with solo violin alone in measure 222 where the materials are worked out . This section again finishes with a small cadenza by the solo violin in measure 266 . The coda begins at measure 267 with a faster tempo marking . In the coda, the melody from the A section is rhythmically reshaped with a quarter note and a triplet . The coda finishes with subito forte chords . </P> <P> The work was premiered in Leipzig on January 1, 1879, by Joachim, who insisted on opening the concert with the Beethoven Violin Concerto, written in the same key, and closing with the Brahms . Joachim's decision could be understandable, though Brahms complained that "it was a lot of D major--and not much else on the program ." Joachim was not presenting two established works, but one established one and a new, difficult one by a composer who had a reputation for being difficult . The two works also share some striking similarities . For instance, Brahms has the violin enter with the timpani after the orchestral introduction: this is a clear homage to Beethoven, whose violin concerto also makes unusual use of the timpani . </P>

The third movement of the violin concerto in d opens with the violin playing the theme in
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