As Beethoven’s Violin Concerto in D Major Op. 61 (1806) is rightly regarded as a pivotal example of the violin concerto genre, its inclusion in the program of any major symphony orchestra is a given. Its popularity never diminishes.

A former artist in association with the ASO, renowned violinist Pinchas Zukerman made a most welcome return to Adelaide for his performance as soloist of Beethoven’s violin concerto, and he directed the Beethoven from the podium.

Beethoven’s concerto has the feel of a three-movement symphony because of its length and structure. The violin enters following a long introduction that establishes the movement’s main themes. The movement opens with a sequence of soft beats in the timpani, like heartbeats, a sequence that recurs throughout. The violin at times augments the orchestral themes as if highlighting or colouring them, so that the soloist’s playing must be perfectly coordinated with that of the orchestra.

In the Allegro ma non troppo first movement, the cadenza is a central feature. Beethoven didn’t write a cadenza for the violin version of the concerto (he later produced a piano version of the concerto with a cadenza) but many performers have — Fritz Kreisler’s first version was heard here. It...