Eduard Hanslick, a dreaded critic of the time, found few lenient words at the end of the creation of the work: according to him indeed, it was no longer the violin, but it consisted at most of "tugging" "," Squander "," pluck ". He could not, however, stop the marchetriomphale from Tchaikovsky's only violin concertode. His enormous technical requirements make him the touchstone of any violin virtuoso. The effect produced by the concerto, however, resides mainly in its great expressiveness - which violinist does not have me above all the "Canzonetta", imprint of lyricism and melancholy? - as well as in its Slavic character. Finally and for the first time, this major work of violin literature is published in a critical edition taking into account its original form.
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