Violin Concerto - Concentric Paths

(2005)

Description
violin and chamber orchestra
Duration
20
Genres
Chamber/Small Orchestra, Violin and Orchestra
Instrumentation
2(I+II=picc).2.2(I in Bb.II in A).2 – 3.2.1.1 – timp – perc(2): BD/2 low drums/low wood drum/SD/3 low drums of different sizes/large tam-t/3 tam-t/cyms/susp.cym/small bongo/metal guero/wood guero/low wdbl/cowbell/small metal can/metal block (or large anvil) – strings (10.8.6.5.3)
Commission

Commissioned by the Berliner Festspiele and by the Los Angeles Philharmonic, Esa-Pekka Salonen, Music Director, underwritten by Lenore and Bernard Greenberg

First Performance
4.9.2005: Berliner Festspiele: Kammermusiksaal, Berlin, Germany: Anthony Marwood/Chamber Orchestra of Europe/Thomas Adès
Availability

Score 0571531059 on sale, parts for hire

Programme Notes

I Rings
II Paths
III Rounds

This concerto has three movements, like most, but it is really more of a triptych, as the middle one is the largest. It is the “slow” movement, built from two large, and very many small, independent cycles, which overlap and clash, sometimes violently, in their motion towards resolution.

The outer movements too are circular in design, the first fast, with sheets of unstable harmony in different orbits, the third playful, at ease, with stable cycles moving in harmony at different rates.

This work was commissioned by the Berliner Festspiele and the Los Angeles Philharmonic, and first performed by Anthony Marwood, the Chamber Orchestra of Europe and Thomas Adès on 4th September 2005 in the Kammermusiksaal at the Berliner Festspiele.

© Faber Music 2005

Licensing Information

News & Reviews

‘Concerto for Violin – Concentric Paths’ is a resounding success

‘Superb, memorable stuff. Yes, indeed, a great work’ ‘From its urgent opening to its nervy, pacing close, the Violin Concerto juggles tension with a real sense of soul-searching and of seeking to understand. Yet, as ever with this composer, his dramatic instincts make for vibrant, compelling listening. I was transfixed, for instance, by the way the questing opening of the second movement is offset by suddenly louring strings and brass that, no longer lazily ambling, return with menacing fo Read more

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