Concerto for Violin & Orchestra - "Eleven Eleven"
by Danny Elfman
- amplified violin and orchestra
- Solo Instruments with Orchestra
- 3(III=picc).2.ca.2.bcl.3(III=cbsn) - 4.3.2.btrbn.1(=cimbasso) - timp - perc(4): [I vib/tgl/susp cyms (lrg & med)/cym/tam-t (med)/claves (mounted)/wdbl (picc, high, med, low)]; [II chimes/tgl/susp cyms (lrg, med & sml)/cym/tam-t/claves (mounted)/wdbl/tamb/BD]; [III xyl or mar/susp cyms (med & sml)/tamb/tgl/wdbl (picc, high, med)/SD/tom-t (8" & 10")]; [IV song bells & glsp (or full-sized C3-C6 glsp)/tgl/susp cym (lrg & med)/SD/tamb/tom-t (10", 12" & 14")/BD w/ cym attachment] - harp - cel - strings (vlns I & II to be played antiphonally)
- Concerto for Violin ("Eleven, Eleven") was jointly commissioned by the Czech National Symphony Orchestra, Stanford Live, Stanford University and the Royal Scottish National Orchestra
- First Performance
- 21.6.2017, Prague Proms, Smetana Hall, Prague, Czech Republic: Sandy Cameron/Czech National SO/John Mauceri
- Score and parts for hire
- Programme Notes
- “I’m aiming for a concept with it that’s very tricky. To answer the question is it possible to write challenging orchestra music that’s not alienating to someone who listens to film music, and more specifically my film music, but at the same time, to not make it fell like film music, but something more? This was a very difficult challenge but that was my goal.”Danny Elfman on the Violin Concerto
A note about amplification:With this concerto, Danny Elfman created a piece that exhibits both the virtuosity of a soloist and the prowess of a symphony orchestra. Though a version of this concerto with more traditional orchestration exists, the composer was eager to retain the robust qualities of both the soloist and the orchestra, whose parts are equally engaging and demanding of the listeners and performers. To best experience the composer’s intention, this version of the concerto requires the use of a microphone by the soloist. Please keep in mind, however, that the amplified sound is NOT in the interest of simply making the violinist loud. The level of amplification should be handled sensitively: the balance emulating what would otherwise be considered normal, and not be such that an audience would know the violinist is using a microphone. The level should be subtle enough for the soloist to comfortably play quiet sections of the piece without feeling overexposed; at the same time, the soloist’s sound should always be present (but not overpowering) even when the orchestra plays out. Once the sound engineer has discovered the proper level for the soloist in the concert hall, it should remain stable for the duration of the performance.
Sandy Cameron, 2018