The association of Brahms with Schumann and for so many years with his widow and champion, Clara Schumann, had an overwhelming effect on his career as a composer. It was Schumann who had publicly expressed his prophetic expectations of the younger composer and his wife whose approval was constantly sought. In 1887, staying for the summer by Lake Thun in Switzerland, Brahms wrote to Clara Schumann about the new concerto he was writing for violin and cello, an unusual combination. In his letter he expressed regret that he did not have a more intimate knowledge of the two solo instruments, as he had of the piano, but found the prospect of handling the two instruments amusing. Clara Schumann, in her reply, gave Brahms every encouragement and was present when the work was first rehearsed in Baden-Baden by Joseph Joachim and the cellist of the Joachim Quartet, Robert Hausmann, accompanied by the composer. From the beginning Brahms had had Joachim and Hausmann in mind. In particular he need to make some gesture to Joachim, whom he had known for some thirty-four years but with whom there had been a breach when Brahms wrote a letter of support to Joachim's wife Amalie, used by her in court to defeat Joachim's petition for a divorce. The letter was couched in such terms that no complete reconciliation could result, but at least some semblance of friendship was restored by the composition of the Double Concerto and the affection and admiration that lay behind it. Joachim made a number of suggestions for the revision of the solo parts, which suggested, at least, revisions made subsequently by the composer, and the reminiscence of a Viotti concerto, a favourite of Joachim, in a passage in the first movement was a clear sign of the composer's intentions.

The concerto starts with four bars for the orchestra, the opening of the principal theme of the first movement. There follows a passage in modo d'un recitativo for the cello, followed, after a brief intervention from the woodwind, by the violin and the two instruments together, leading to the first major orchestral tutti with the main and secondary themes. This material is treated in various ways by the soloists, with the full orchestral texture that is characteristic of Brahms. A rising fourth from the French horns, echoed by the woodwind, opens the D major Andante, allowing the theme to unwind with violin and cello together. A second theme is introduced by pairs of flutes, clarinets and bassoons, to be developed by the soloists. A brief cadenza-like passage leads to the return of both themes. The cello opens the Hungarian rondo finale, followed by the violin, and other material is introduced, notably a chordal secondary theme entrusted to the cello at first and a passage in dotted rhythm in thirds for the soloists. The final coda is derived from the principal theme of the movement.