In the second half of the nineteenth and early twentieth centuries, the instrumental solo concerto became a particularly popular medium in Russia. Glazunov’s compositions include two piano concertos and concertos for violin, cello and alt saxophone.

The Concerto for Violin and Orchestra was written in 1904 – in the most productive creative period for the composer. It was during that period (mid nineteenth and early twentieth century) that Glazunov wrote hos more mature compositions: the Fifth, Sixth and Seventh symphonies, the Fourth and Fifth string quartets, three ballets, two piano sonatas. At the same time, Glazunov made a name for himself as a leading orchestral conductor and gained recognition as professor at the Saint Petersburg Conservatory, of which subsequently he became the Director.

The Violin Concerto is dedicated to Glazunov’s colleague, Prof. Leopold Auer. A prominent violinist, Auer became the first performer of the work on 19 February 1905, at the eighth symphonic convention of the Russian Musical Society,  with the author himself as conductor. The premiere evoked mixed responses from music critics. Some regarded the concerto as a remarkable work of art, complete in shape and content, while others received it quite unfavorably. Perhaps the mixed responses were due to the fact that the concerto contravenes the customary expectations of a brilliant virtuosic music work. But the composer had deliberately avoided external virtuosity and shifted the focus toward a different aspect. Glazunov was after a new type of concerto dramatism – lyrical. His Violin Concerto is completely different from the creations of other Russian composers, although the concertos of Tchaikovsky, Rachmaninoff, Anton Arensky, Taneyev and Rimsky-Korsakov were extremely popular at the time. This does not mean, however, that Glazunov’s concerto is not virtuosic or is easy to play. Its “virtuosity” is simply found elsewhere. Even in the process of writing, the author was assailed by doubts. In his letter to Rimsky-Korsakov he wrote: “This work has caused me a lot of grief: sometimes it seems to me that the music is rubbish, and there is nothing at all for the violin to play; at other times, I comfort myself with this or that, and tell myself that after all it would be good to finish it.”

Gradually, the work entered the repertoire of musicians and gained widespread popularity with listeners. In 1911, the concerto already had a reputation of being “beautifully written, original in shape and brilliant with its colours and sound combinations…” Following the performance of the work at the Leopold Auer contest, the jury unanimously applauded the author.

Among Russian performers of  Glazunov’s  Violin Concerto, particularly outstanding interpretations were made by Miron Poliakin and David Oistrakh. In this work, Glazunov managed το combine instrumental virtuosity with deep feelings and lyrical experiences. As for the solo cadenza, it is a peculiar statement of the author, full of philosophical depth. The antique fugato suits it particularly well – it is written to sound as if seemingly played not by a single, but by two and occasionally – even by three performers. Technically, this is extremely difficult. But the peculiarities of the concerto are found not only in the cadenza, but also in its form: the usual three-movement structure here is merged into one movement, but the three distinctive movements are still retained. This is achieved by alternating moods, tempos, dynamics and rhythm. The exposition movement represents the sonata allegro. The slow episode in the development serves as an adagio and the rondo – as finale. But why, after all, the author did not write three separate movements? The answer perhaps lies again in the lyrical content of the work. Integrity of imagery does not necessitate the writing of many different subjects, which require their own development and juxtaposition. It suffices simply to alter slightly the nuances for the unity of design to be preserved. The orchestra and the solo instrument also do not appear in opposition to one another, though there are very vivid references to subjects and motifs They complement each other harmoniously, creating an undivided musical composition.

Glazunov’s work on the whole is characterized by smoothly flowing musical thought, by monumentality and restraint. It reflects balanced and harmonious worldview, which is at the same time deep and meaningful. This is also true of his Violin Concerto. It carries a kind of life-asserting optimism, bright mood and belief in the forces of life.