Given the strong personal biographical root that this work takes in Brahms œvre, I can only imagine what Brahms had in mind dramatically for as representation for the Cello. Did Brahms take the role of the Cello and Joachim was the logical counterpart? Or is the introduction between Violoncello and Violin just an amalgamation of both protagonists so that both instruments speak as one throughout the Concerto?the only real conflict and adversarial passages happen in the middle of the second moveme