20 Best Violin Concertos Of All Time

Discover the most beautiful violin concertos

Over the past 400 years, violin repertoire has continually expanded and evolved. Ever since Vivaldi, concertos in particular have become increasingly elaborate and virtuosic. Several of these, such as the ones by Brahms, Beethoven, and Mendelssohn, are well-known by classical music lovers, while other concertos that are just as beautiful are only famous among violinists. Here I combine everything into my list of 20 of the greatest violin concertos. Many of these will be familiar to you, but if you’re not a violinist hopefully you’ll discover some exciting new gems as well. For most of them I’ve linked to the free sheet music downloads.

Violin Concerto in C Major by Dimitri Kabalevsky

Kabalevsky was a Russian composer who was most famous for his piano compositions. While teaching piano in a school he realized there was a lack of material suitable for children. He then dedicated his time to writing pieces that children could both learn from and enjoy. His short violin concerto is very popular among serious young students. It has also been professionally recorded by artists such as David Oistrakh and Pinchas Zukerman. While often being considered a “student concerto” it still has some very challenging elements, such as double stops and fast arpeggios. The middle movement is beautifully ethereal and contains a chromatic section that sounds like the whispering of wind.

Click here to buy the sheet music.

Concerto for Two Violins in D Minor by J.S. Bach

A Book 4 milestone for any Suzuki student, this brilliant piece can never be enjoyed too many times. Both violinists get equal chances to play the melodies, and it is a wonderful opportunity for two advanced students to play their first concerto with orchestra if there is an ensemble available. The rhythms and notes of this concerto are mostly straight-forward while presenting important challenges in shifting and accidentals.

Click here to download the free violin sheet music.

Violin Concerto No. 1 in C Major by Joseph Haydn

This is the first and most famous of Haydn’s three surviving violin concertos. Haydn wrote it in 1761 for Luigi Tomasini, who was a talented violinist and composer in his own right. This joyful concerto contains a sprightly and sophisticates solo part with room for cadenzas (i.e. opportunities for virtuosic improvising by the soloist). It is a standard in both student and professional classical repertoire.

Click here to download the free violin sheet music.

The Four Seasons by Antonio Vivaldi

Do you know how many violin concertos Vivaldi wrote? That’s right, two hundred and thirty. He’s credited with making the concerto form popular, and his work is still popular three hundred years later. The Four Seasons is actually a set of four complete violin concertos, each with three movements. Every movement describes a particular country scene Vivaldi would have witnessed in his native Italy as the seasons changed.

Click here to download the free violin sheet music.

Violin Concertos by Mozart

Mozart wrote five beautiful violin concertos before the age of twenty. Only three of these are frequently performed, and the first two less so. No. 3 in G Major is the most playable and stays mostly in first through third position. Nos. 4 and 5 are more fiery and dramatic, especially the opening movements, and extend into higher positions. No. 5 is probably the most famous of them all, and it is very interesting to listen to multiple recordings to hear how different players interpret Mozart.

Click here to download the free violin sheet music.

Symphonie Espagnole by Edouard Lalo

This one is different: violin concertos traditionally have three movements, but this has five. The first one is the most famous. This work started a period where Spanish-themed music was all the rage, and it inspired Tchaikovksy when he created his violin concerto.

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Violin Concerto No. 1 in G Minor by Max Bruch

This concerto has long been a favorite among audiences. In fact, Bruch was envied and insulted by fellow composers during his life because of this work’s popularity. His detractors were ultimately ignored, however, as it still remains a concert hall staple and mandatory repertoire for serious students.

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Violin Concerto No. 3 in B Minor by Camille Saint-Saëns

Saint-Saëns dedicated this concerto (his only on still frequently performed) to the Spanish virtuoso Pablo de Sarasate. Much like his spectacular showpiece Introduction and Rondo Capriccioso, the Spanish flair is evident particularly in the third movement. This concerto is not quite as virtuosic as Saint-Saën’s other two, but its challenges include unusual rhythms and sustained legato lines in the second movement, double stops, and sixteenth-note sequences that go into the highest positions.

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Violin Concerto No. 1 in D Major by Niccolò Paganini

Paganini is most famous for his 24 Caprices, but he wrote many other pieces including six violin concertos. The first one is the most famous. The third movement is charming and playful but with a deceptively challenging ricochet theme. This concerto is often performed with a cadenza by Sauret, which is considered probably the most difficult cadenza ever written. Even the top soloists will often opt for a different cadenza! This recording however does use the Sauret.

Click here to download the free violin sheet music.

Violin Concerto by Samuel Barber

American composer Samuel Barber wrote this gorgeous concerto in 1939, and the piece reflects the uncertainty of the times. The lush, romantic first two movements are filled with nostalgia and unanswered questions. The frantic third movement, which Barber added later, is an incredible challenge to both soloist and orchestra. Listen to it here played by Anne Akiko-Meyers, who has performed it over 1,000 times.

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Violin Concerto No. 2 in D Minor by Henryk Wieniawski

His music is timeless, but the story of Polish native Henryk Wieniawski is brief and tragic. He entered the Paris Conservatoire at only eight years old. He began touring after graduation and became internationally famous, performing his own extensive compositions. Audiences loved his brilliant performances, but the stress of constant travel and work eventually wore him down. He died of a heart attack while touring Russia in 1880. 

Wieniawski wrote two violin concertos that are both standard repertoire. The second is performed more regularly in part because of its easier key signature (D minor is much easier than F# minor) and is an excellent piece for college music school students. 

Click here to download the free violin sheet music.

Violin Concerto in B Minor by Edward Elgar

The famous 20th century violinist Fritz Kreisler considered Elgar his time’s greatest living composer, and so asked him to write a violin concerto. Elgar and Kreisler originally planned to record the concerto together, but that fell through and elgar eventually recorded it with a young Yehudi Menuhin instead. Kreisler hailed Elgar’s sense of harmony, grandeur, and orchestration as equal to that of Beethoven or Brahms, and his violin concerto (though of course stylistically different) proves that. Tumultuous and elegant by turns, it has some similarities in style to the Barber concerto, but it fits more into the Romantic Era than into the American 20th-century movement.

Click here to download the free violin sheet music.

Violin Concerto in A Minor by Alexander Glazunov

An interesting fact about this concerto is that there are no labeled divisions into movements. Musicologists have divided it into three or four movements in various ways. It appears that the second movement is actually inserted into the middle of the first movement. IT is also unusual that Glazunov actually wrote the cadenza, since most cadenzas are written by famous performers after the fact.

Click here to download the free violin sheet music.

Violin Concerto in E Minor by Felix Mendelssohn

Classical music lovers can debate endlessly about what the four greatest violin concertos are, but you can be sure Mendelssohn’s will be on the list. Written in 1844, it incorporates the best of both traditional classical styles and Mendelssohn’s budding romanticism. And in case you were wondering, Mendelssohn also wrote a little-known Violin Concerto in D Minor earlier in his life that is also worth a listen.

Click here to download the free violin sheet music.

Violin Concerto in D Minor by Jean Sibelius

When Sibelius premiered the original version of this piece in his native Finland in 1904, he had just finished writing it. Although Sibelius had enough time, unfortunately the violinist performing it didn’t, and the debut was a disaster. Sibelius revised the concerto to make it “easier,” and this new version was performed much more successfully in 1905. It is still one of the most difficult concertos, which is perhaps why it requires special permission from the Sibelius family to play the original harder version.

Click here to download the free violin sheet music.

Violin Concerto in D Major by Peter Tchaikovsky

Okay, I know you’re wondering at this point why so many violin concertos are in the key of D, but maybe that’s a subject for another article. Tchaikovsky wrote this concerto while trying to recover from depression, and it is heart-on-your-sleeve, alternating between deep reflection and unrestrained joy.

Click here to download the free violin sheet music.

#17 Violin Concerto in D Major by Johannes Brahms

Like the Beethoven Concerto, the opening of this piece sounds as though Brahms started writing a symphony and then suddenly remembered he was supposed to be writing a violin concerto. When the soloist finally does come in, he does it in style with some fiery runs and perfectly tuned double-stops (playing more than one string at once). It may not be as melodic or violin-centered as Beethoven’s but the sheer amount of energy in the work is breathtaking.

Click here to download the free violin sheet music.

Violin Concerto in D Major by Ludwig van Beethoven

Clocking in at a cool 45 minutes long, the Beethoven Concerto is considered one of the most challenging in the repertoire, and a major accomplishment for anyone who learns it. In the beginning, the orchestra plays an intro lasting over two minutes, which gives the soloist plenty of time to stand there in front of the audience wondering if his or her entrance will sound good. In this recording by violin super-star Hilary Hahn, however, you probably won’t notice her worrying. After you watch this recording, check out her Germany debut where she played the same piece at the age of fifteen (!).

Click here to download the free violin sheet music.

Hi! I'm Zlata

Classical violinist helping you overcome technical struggles and play with feeling by improving your bow technique.

How difficult are these violin concertos to play?

The ‘big’ violin concertos on this page are generally on the more difficult side and to be played by advanced or even virtuoso violinist.

… but there are also easy violin concertos for beginner violinists

Even beginners can play violin concertos by Küchler and Rieding for example. You can find them in my free violin beginner course.

Violin concertos for intermediate violinists

Violin concertos exist on all levels. Check out my list right here with 107 (!) intermediate violin concertos including free sheet music.

What’s your favorite violin concerto?

Leave a comment below this article.

How to Play Tremolo on the Violin

Tremolo is one of the most fun violin bowing techniques!

As long as you have your basics covered, tremolo is easy to play and always adds excitement and drama to the music. Tremolo is particularly found in orchestral music. It is a very rapid detaché stroke typically done at the tip of the bow. Depending on the context, it creates a shimmering, mysterious, or triumphant effect.

There are three types of tremolo: unmeasured, measured, and fingered

All tremolo is notated by putting slashes through the beams of the notes. If there are three slashes through the stems, it means to play small detachè strokes as quickly as possible. This is unmeasured tremolo. A variant of this is a sforzando tremolo that starts with a fast accented down bow to the tip followed by an unmeasured tremolo.

Measured tremolo means dividing a note into a specific number of shorter notes. For example, if you see one slash through a half note, it means play four eighth notes. Two slashes mean eight sixteenth notes. It gets a bit fuzzy with quarter notes: two slashes can either mean sixteenth notes or unmeasured tremolo. At that point, it depends on the musical context and ultimately the wish of the conductor.

Fingered tremolo sounds similar to a trill, but it is notated differently. The bow just plays one long note, but the fingers rapidly alternate between two notes. This creates a very shimmery, mysterious sound. Fingered tremolo can be measured or unmeasured. One very important tip is that you always play the two notes on the same string rather than trying to alternate between strings.

Tremolo in violin sheet music

Difficulties in violin tremolo

It doesn’t seem that complicated, so what are some difficulties people encounter when playing tremolo? The biggest issue for most students is tension. The hand and wrist move quickly while the whole arm stays relaxed. It is easy to just start shaking the whole arm, but over long periods of time this is tiring and perhaps even dangerous. Instead of jumping straight into fast tremolo, build up to it gradually.

Start by placing the bow on the string at the tip (E string is easiest at first) and notice how your arm feels. Is it relaxed, or are there areas of tension? It is a fact that no matter how tense you are, you can always find a place in your body that is relaxed and go from there. It might help to put your elbow against a wall in order to isolate the wrist and arm movement. Start by playing quarter notes to become comfortable with the movement, then double the tempo each time. So eighth notes, sixteenths, etc. If the tremolo is unmeasured, don’t worry about the exact number of notes, just play as fast as possible. A good trick for not getting tired is to only keep your thumb, index, and middle fingers on the bow.

Examples of different types of tremolo

Unmeasured Tremolo: Tchaikovsky’s The Nutcracker

Measured Tremolo: Beethoven’s Coriolanus Overture

Fingered Tremolo: Sibelius’ Violin Concerto in D Minor

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Classical violinist helping you overcome technical struggles and play with feeling by improving your bow technique.

In the fingered tremolo example, the tremolo is not in the solo violin but rather in the section violins who can be seen in the background. Fingered tremolo notation can be confusing in sheet music if you have never seen it before. For example, you might see two half notes connected with two dashes. How many beatles is that supposed to be? That counts as two beats, because it means you alternate (similar to trilling) between the two notes for two beats. This stumps players when they see two whole notes in one measure connected by dashes and wonder how they are supposed to play eight beats!

All three types of tremolo are very common orchestral bowing techniques, so I hope this article helps you feel more prepared at your next rehearsal!

How to Practice with a Metronome as a Beginner Violinist

Do you feel that the metronome is hard to follow or makes your playing mechanic? Here are some practice tips for beginners:

Have you ever had a teacher or peer gently suggest that you should practice with a metronome? Perhaps like me you resisted the idea for a long time. Common responses are “It takes the fun out of practicing!” “It confuses me, I can’t focus!” “I can’t follow the beat so I play even worse!” If you struggle with these, it is totally fine. You can still learn to play with a metronome if you break down the steps and go slowly. In this article, we’ll talk about the types of metronomes, their functions, and how to start using one in a way that won’t drive you crazy.

What is a Metronome?

A metronome is a device that simply gives steady clicks and can be set to any speed, i.e. tempo. Metronomes are primarily used by musicians but can also be helpful for other artists such as dancers and marching band flag-twirlers. There are three main types. First, there are classic mechanical metronomes that must be wound up and have a metal pendulum. There are also electronic metronomes that click or beep and have a blinking light. These days however, more and more people are switching to online metronome apps. This way you’re not carrying an extra piece of equipment around, and most online metronomes are free! Additionally, they often have special features that traditional metronomes do not.

Where to find a Metronome?

Great Zlata, so where do I find a good online metronome? There are so many options! After a lot of experimenting, I’ve developed a free, online metronome available on my website and as an app. In my own practicing I always had difficulty hearing the metronome, so I needed to see the pendulum. Unfortunately, most online metronomes only have a blinking light. My metronome app looks like a mechanical one so you can watch the needle. It has an attractive, easy-to-use design that lets you choose tempo, beats, and rhythms. One nice thing about this metronome is that it can play subdivisions. For example, if you set it to 120 beats per minute, you can also set it to play eighth-notes, triplets, or sixteenths at that tempo. This is especially useful for beginners who are learning to subdivide mentally. The metronome also lets you place an accent on the first beat of each measure depending on the meter. Overall, it is much simpler than many other online options, but still includes everything necessary and is more visually appealing.

Click here to go to my free online metronome.

Why Practice with a Metronome?

Practicing with a metronome is one of the best things you can do for your playing. It helps with rhythm, tempo, precision, ensemble skills, and being able to play all the way through without stopping. In fact, there’s no reason not to practice with a metronome! Yes it can be daunting at first, and students often give up in frustration. It simply takes patience to absorb the rhythmic pulse and make it part of your playing. We’ll go over some tips on the simplest ways to incorporate metronome work into your practice routine so that you’re ready for more complex things later on.

How to Start Playing with a Metronome?

The best way to learn almost every single violin technique is through scales. Pick a scale you’re already very comfortable with. Set the metronome at around 60 bpm, or whatever is comfortable for you. Starting with one click equals a quarter note, play four bows per note going up the scale. Set the metronome a bit faster and do the same thing. Make sure you are changing bows exactly with the clicks. When you are comfortable with quarter notes, start doing eighth notes, two per beat. Then do sixteenth notes. You can also do this for triplets or any other rhythm you want to practice. The goal right now is simply to get used to playing with the click so that you can use it with pieces later on.

If you have a complex rhythm in a passage, a metronome can help you break it down. Start very slow, setting the metronome to subdivisions (i.e. one beat per eighth note instead of one beat per quarter note). You can even draw little dashes in the music where the main beats are. The trick is to always start the metronome slower than you know you can play. That way you will feel comfortable and can gradually build to a faster tempo without developing sloppy habits.

The same principle applies to practicing pieces with a metronome. Make sure you are comfortable with the fingerings and bowings first, otherwise you will not be able to keep a steady pulse. Make sure you are also still doing musical things like dynamics and phrasing. This is totally possible with a metronome, and if you leave these details out when you are practicing you may not do them when performing!

Hi! I'm Zlata

Classical violinist helping you overcome technical struggles and play with feeling by improving your bow technique.

Getting things up to Tempo

Practicing involves a lot of repetition, and metronomes encourage focused repetition. The main reason people practice with a metronome is to help speed up fast tricky passages at consistent tempi. Picking a metronome speed to work towards turns practicing into more of a fun challenge. When you start slow and increase the tempo by only a few clicks each time, it basically tricks your brain into thinking you haven’t sped up at all!

Over time, regular use of a metronome will transform your practicing and performance. And since you have such wonderful free tools at your disposal, why wait? The sooner you begin, the more quickly you will adapt to it. Just remember to start slow, have patience, and let yourself learn over time.

Do you practice with a metronome?

Let me know which metronome you use and your best tips in the comments!

First Notes you Learn on the Violin as a Beginner

Start playing the violin with these easy finger patterns to play your first notes and scales

(sheet music and finger chart included)

On every instrument, certain scales are easier to play than others. This is because some scales involve more complicated finger patterns. For violinists these finger patterns are called hand frames, meaning where the fingers are in relation to each other (in other words, whether there is a whole step or a half step between each finger). When starting violin, it is easiest to learn your first notes in the context of scales, because then you learn to understand the patterns and not just random facts. Beginner violinists start by learning three one-octave scales that all have the same hand frame: A major, D major, and G major (see below). Most beginner violin pieces, including all of Suzuki Book 1, are in one of these keys. Practicing them will prepare you to play dozens of different songs!

What Hand Frame are we Using?

If you have tapes on your violin fingerboard, they’re probably set to the notes required for these three scales. Violinists start by learning high 2 first, meaning second finger touches third finger. Later on you will also learn low 2, which touches first finger.
In case you are not sure which finger number is which, index finger is first, middle finger is second, ring finger is third, and pinky is fourth. You do not have to use the fourth finger for these three scales. In first position, 4th fingers are the same as the next highest open string (i.e. fourth finger D is an A) so you can just use open strings.

One-octave A major, D major, and G major all use the exact same pattern, but on different strings. A major uses A and E, D major uses D an A, and G major uses G and D.

First scales you learn on the violin in sheet music

Here’s how to play these first scales on the violin

and how they sound, so you can play along

First notes on the violin in sheet music

The one octave major scales above have the same finger pattern. Here’s a summary of the first notes you learn per violin string:

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Hi! I'm Zlata

Classical violinist helping you overcome technical struggles and play with feeling by improving your bow technique.

Finger chart for the first notes on the violin

Now that you know which strings and notes to use, you can work out the finger placements from this chart:

This is just the tip of the ice berg when it comes to scales. Check out my free book Sensational Scales for lots more scales, arpeggios, and exercises for beginner through advanced players.

Shifting vs Glissando vs Portamento on the Violin: What’s the difference?

Learn four different ways of changing positions on the violin

So, you started your violin journey a while ago now. You’ve learned several pieces, scales, and you are comfortable with different positions (at least first and third). Perhaps you’ve even started working on vibrato. Now that you have these basics down, why not spice things up a bit? For example, why not learn how to add various kinds of expression to your shifts? In this article we will discuss the best way to execute regular shifts, but also ways to add juicy stylistic flair, also known as glissando and portamento.

Regular Shifts

Regular shifting is the most basic form of changing positions on the violin. When shifting, the “old finger” lifts off the string slightly but not completely. By sliding lightly along the string the old finger guides the hand to the new position. Lifting the finger just enough so that it does not make a sound disguises the shift. Many students disregard guide fingers, which makes their shifting insecure and inconsistent.

A good example of clean shifting with guide fingers is found in the opening of the Mendelssohn concerto. In the second measure of the solo part, Hilary Hahn shifts from second to fourth position by keeping first finger on the string during the shift. You may want to watch in slow motion to catch this!

Jump Shifts

If you have a big shift of five positions or more, there is not always time to slide on the guide finger, especially if there is a string crossing involved. Any time all the fingers leave the string (intentionally!) during the shift, it is called a jump shift. Jump shifts should be practiced very slowly and methodically because it is challenging to land in the same spot every time. Additionally, you can use visual/physical landmarks such as where your left hand is in relation to the edge of the violin to remember what position you’re going to.

Beethoven’s beautiful Romance No. 2 in F Major has some examples of jump shifts. At one point, the melody goes from an open G straight to a high F in 5th position on the E string—a jump of three octaves! In this recording, Capuçon is already in third position on the D string (in order to vibrate open G) then he lifts all his fingers, changes to E string and only has to go up two positions. Again, watch in slow motion to really see the shift.

Click here to watch the video example.

Glissando vs. Portamento

The stylistic components of violin playing have changed greatly over the years. A hundred years ago, sliding audibly between shifts was popular because it sounded sweet and emotional. This heart-on-your-sleeve technique gave every violinist a unique sound. Today, playing cleanly is more encouraged, but it is important to know how to use slides tastefully. There are two main types which often get confused: glissandi and portamenti. Both words describe sliding between two notes, but in different ways.

In sheet music, a glissando is marked by a straight line between two notes. In solo music adding a glissando is often a stylistic choice and may not be marked at all. Glissandi are found in both solo and orchestral music. Below is a recording of Sensemaya by Ravueltas, a dramatic modern piece based on a poem about killing a snake. At the climax, watch how the first violins are sliding up and down the G string, adding color, texture, and energy to the orchestra.

Portamento means “to carry”, and is shorter and more subtle than a glissando. 20th-century violinists added portamenti to their shifts all the time. There are two basic ways to do portamenti. In the first, you slide on the old finger and place the new finger only after reaching the new position. In the second way, you change fingers half-way through the slide. For example, say you are sliding on the A string from 1st finger B (first position) to second finger E (third position). Start the slide on the first finger, then put second finger down and complete the slide into the E. It will help if you use the flat part of the fingers instead of trying to balance on the tip.

Hi! I'm Zlata

Classical violinist helping you overcome technical struggles and play with feeling by improving your bow technique.

Going back to Hilary Hahn’s Mendelssohn, she uses this second type of portamento in the opening of the second movement. At the end of the solo part’s first measure she shifts from B to A, putting the third finger down half-way through the slide.

The differences between glissandi and portamenti can be subtle, but a skilled player knows what is tasteful and appropriate. Do you have a favorite violin shifting technique? What about a favorite early 20th-century violinist? Please share any thoughts and tips below!