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Concerto for Violin and Orchestra

47 minutes | 1994-1995
Score 208 pages

New Orchestral Version Coming Soon!

"O Mistress Mine, Where Are You Roaming?" (Violin and Orchestra)
"She Walks in Beauty" (Violin and Orchestra)
"You Have Been Mine Before" (Violin and Orchestra)

Piano Reduction Available

"O Mistress Mine, Where Are You Roaming?" (Violin and Piano)
"She Walks in Beauty" (Violin and Piano)
"You Have Been Mine Before" (Violin and Piano)

Of all the instruments in the orchestra, the violin has the reputation for being the most romantic - the one with which lovers traditionally are serenaded. Thoughts of the romantic nature of the violin kept flooding the composer’s mind as he worked on the early sketches of this concerto. Pulling a volume of love poems from the shelf behind his desk, one evening he reread lines which he had long cherished, some of which in his youth he had even starred in hopes of eventually setting them to music - perhaps as songs. Three kept drawing him back, so that he started leaving the book open on his desk.

After several weeks, it became apparent that these three poems were shaping his musical inspiration. It was not until the work was nearly finished, however, that he realized that these works embodied three different aspects of love. The first he perceived as physical, with Shakespeare's playful emphasis on youthful exuberance. This movement has the most drive, but also the most contrast and dissonance.

The Byron poem is openly emotional, but additionally expresses an intellectual aspect, which the composer perceived as intertwined and inseparable from the emotional. In the second movement, he set these two aspects into their own themes, one of which in particular is subjected to extensive contrapuntal activity.

The Rossetti work, so vivid in its imagery and spiritual in its content, required a nontraditional form because of its cumulative approach and questioning attitude. It includes and summarizes all the aspects of love presented in the other works, which the composer set as earlier material integrated with new ideas. The finale is an overflowing of joy and hope.

The primary musical influences on this work were the concertos by Bloch, Chavez, Elgar, Bartok, Berg, and Sibelius.