Concerto for Violin, Strings, Harpsichord and Percussion (2025)

I have wanted to write a concerto for violin for some time, but my work in other areas – particularly opera projects such as Beyond the Garden in 2021 and A Star next to the Moon in 2023 – prevented it from happening sooner. Since the start of 2024 though I have had the opportunity to return to instrumental forms with The Celestial Stranger for the BBC National Orchestra of Wales and The National Symphony Orchestra in Dublin (which although an orchestral song cycle is concerto-like in its blending of soloist and orchestra), a trumpet concerto for the Aalborg Symphony Orchestra (to be premiered next year), and now my Concerto for Violin.

I’d actually discussed the work some years ago, but events such as the pandemic threw things into disarray and destabilised so much of our lives. It was when several new factors came together that it seemed possible again and the alignment of interest from the London Mozart Players and the John Armitage Memorial Trust gave wings to the idea. I have long admired Fenella Humphreys commitment and skill in bringing new music to life, so her interest in a new concerto helped to complete the circle of possibility.

Because of the joint commission resources, it was always going to a baroque scale concerto based on a string orchestra with soloist. Following that model, I decided to add a harpsichord and then, to expand the range of colours, I added percussion – an area unlikely to have been anticipated by the seventeenth century composers who no doubt would have thought it exceedingly exotic!

I have kept the multi moment format, but - rather than the traditional three moments of the romantic concerto - we have five sections led by an opening segment which lays out contrasting musical ideas that are developed later. A gentler interlude follows which leads to a meditative, song-like development over a steady bass pattern. The first interlude is briefly recalled before the final section bursts into life driven by energetic percussion.

Each movement has a characteristic sound; the first for instance is predominantly dry and features short motifs and wood textures like cracking twigs. The middle movements have a somewhat dreamy, bell-like quality, while the final section is driven by a persistent drum motor and energetic jagged pizzicatos in the conversation between the soloist and orchestra.

I am very grateful for the encouragement given to me by conductor Nicholas Cleobury and his much-appreciated efforts to help bring this work to life. Also, to Edward Armitage, Chair of the John Armitage Memorial Trust who have co-commissioned the work along with the London Mozart Players. I would finally like to thank Rosamund Sykes for her very generous support in the creation of the concerto.

Stephen McNeff