Violin Concerto, Op. 42 (2011)

This concerto is cast in the customary three movements fast – slow – fast. It attempts to continue and extend the tradition of “singing” violin concerti established by Mendelssohn and Bruch, and later continued by Dvorak and Berg, rather than the more symphonic approach favoured by Beethoven, Brahms and Tchaikovsky. In addition there are two instruments who have prominent and sometimes concertante parts: the harp and mandolin, whose function is to “mirror” the lyrical character of the solo violin.

The opening movement presents two main ideas – the first muscular and vigorous with the soloist and orchestra on equal terms, the second a large span of more lyrical writing introduced by the violin. There follows a development which falls into three parts: an arching violin melody accompanied by sustained wind chords, then a gently pulsating fugue introduced by muted strings and finally a dream-like sequence over a static pedal where mandolin and harp are prominent. The reprise is shortened, starting with a concentrated but intensified statement of the first idea and then a re-scored version of the second subject where the violin enjoys duets with solo winds. The movement ends with a final reminiscence of the first tune but rather in the manner of a jazz combo.

The slow movement is the heart of the concerto and is like an extended song without words. An expansive string ascent introduced by divided cellos leads to a lyrical climax which quickly subsides to reveal the principle idea: a simple tune intoned by the soloist. The textures are usually very delicate and chamber-like and the music seldom rises above piano. There is no cadenza as such but a brief trio for violin, harp and mandolin which acts as a bridge into the as a bridge into the Finale.

The singing style during the Finale suggests the world of comic opera, hence the marking “Alla Buffa”. Again, the textures are predominantly transparent though the tempo is brisk and the ideas demanding much agility and wit with some glimpses of racy humour. Finally the movement erupts into a big- hearted tutti, and a full blooded return of the Concerto’s first melody.

The Concerto was composed between October 2010 and June 2011 and is dedicated to Madeleine Mitchell.