The debut of the concerto occurred in Moscow on November 16, 1940, performed by its dedicatee, David Oistrakh, who Khachaturian kept close contact with while
composing the work. The concerto was excitedly gotten, and only one year after its debut, won the most noteworthy imaginative honor of the Soviet Union, the
Stalin Prize, which was later renamed as the State Prize. Khachaturian’s objective recorded as a hard copy the work was “to make a virtuoso piece utilizing
the symphonic guideline of improvement but then reasonable to the overall population”. This end up being a triumph, as after hearing the initial development
of the concerto, the audience is in a split second snared on the driving rhythms and the well off vital tunes that command the whole work. The concerto is
normal for conventional Armenian tunes, yet it doesn’t straightforwardly cite any society melodies. Rather it utilizes rhythms suggestive of people music just
as melodic entries fusing interims of a second – especially an increased second. “This dissonant interim frequenting me originates from the trio of the
society instruments comprising of the tar, kemancha, and tambourine. I relish such sonorities and to my ear[s] they are as normal as any consonance”. In spite
of the fact that Khachaturian himself never conceded any additional melodic relationship with his violin concerto, as I would like to think, the three
developments can be deciphered as an ordered history of the Armenian individuals, especially the destruction of 1915. Notwithstanding, during the USSR, the
destruction was to a great extent disregarded by the Soviet government, so it would not have been suitable for Khachaturian to openly express this.

The main development depicts the long stretches of antiquated Armenia, when the realm was continually fighting with encompassing domains, for example, the
Persians, Romans, and the Arabs. Two differentiating subjects are introduced and created all through the whole development. The ensemble enters with an
incredible presentation, and the violin comes in not long after with a musical section (see figure 1.a) trailed by a quick move like figure. Tuning in to the
opening cadenced entry, it is hard not to envision a pony’s run – which is a free symbolism of going to fight.