A Conversation with Stephen Tavani
On August 16th, 2025, Stephen Tavani performed Max Bruch’s Second Violin Concerto for the first time since the legendary Jascha Heifetz performed it with The Cleveland Orchestra 101 years ago. We sat down with Tavani to ask him about this concerto and what makes it an underperformed gem.
What was your first exposure to this concerto?
STEPHEN: This is a piece I’ve loved for a long time. I first learned about it through my teacher, Aaron Rosand. I had already studied Bruch’s First Concerto, like most young violinists do, but he gave me the Second, which many people don’t know exists. (There’s also a third, which is even more unknown.) So, studying it with him — and listening to his recording with the Bavarian Radio Symphony Orchestra — was my first introduction to the piece.
Why do you think it’s lesser known than the first concerto?
STEPHEN: I think one reason is that the First Concerto is kind of indestructible; it’s such an accessible and beautiful piece. The Second is more challenging in that you really need a cohesive interpretation to make it work. It doesn’t really play itself like the First does, but I think it’s a hidden gem.
What sticks out to you musically about this piece?
STEPHEN: Like the Songs Without Words by Mendelssohn, I imagine this concerto as an opera without words. The first movement is very operatic; much of it sounds like music a dramatic soprano would sing. The second movement is a recitative with very free, cadenza-like material, and the third movement is full of virtuosic fireworks. The high drama will be very apparent to listeners throughout.
How did you come to pick this specific concerto for this program?
STEPHEN: I liked the idea of doing something off the beaten path. Plus, it works really well with the program overall; there’s a cool dichotomy between the concerto, the new Gabriella Smith piece, and Elgar’s Enigma Variations. And I’m thrilled to have the opportunity to play it with Daniel Reith.
How does it feel to be only the second violinist after Heifetz to play this piece with The Cleveland Orchestra?
STEPHEN: Obviously, it’s this giant shadow to stand in. But it’s also slightly reassuring to know that nobody who heard that performance is likely around now! In all seriousness, though, he championed this piece as well, and I hope to do that in a small way. It’s a beautiful piece that’s definitely worth hearing.
Stephen Tavani is Assistant Concertmaster of The Cleveland Orchestra. He holds the Dr. Ronald H. Krasney Chair.