Violin Concerto
Ernesto P. Pellegrini
About this work:
I. Andante mosso II. Romanza: Andante affettuoso III. Andante spiritoso.
The violin concerto, completed in 1986, is the result of a collaboration, for the composer has definitely written the work with Dmitry Sitkovetsky in mind. Throughout the composition he attempts to demonstrate his admiration for artist Sitkovetsky’s intense style of playing and consummate mastery of the instrument. Somewhat traditional in format, the concerto is written in three movements. The first movement, Andante mosso, with two contrasting ideas, attempts to clarify the sonata-form principle in a very free manner. In the middle of this movement the composer has placed the violin cadenza that divides the movement into two parts which, in turn, contain all those elements associated with the classical form. Using the Sicilian folk song “Iu partu” as its controlling idea, the second movement, Romanza: Andante affettuoso, retain the basic three-part format (ABA). Here the violin solo part varies the melodic content as is normally done in a variation form. The minor mode, which is typical of many Southern Italian folk songs, is interchanged with the major mode. By creating a textural counter melody, the intense lyrical solo violin attempts to disguise the simplistic nature of the folk song. A bridge-like passage prepares the listener for the last movement, Andante spiritoso. Basically joyous in character, the third movement contains three basic themes which are heard repeatedly. The first idea, which is bouncy, contrasts with the more technical second one. The third idea is a direct quotation form the last movement of the well known Paganini’s Concerto in D Major. This last one, as a paraphrase, works itself into the musical syntax as a by-product of the first two, thus demonstrating how musical ideas can be changed in a kind of subconscious process by means of thematic transformation. The recurrence of these themes in a pre-established manner produces a type of “rondo form.” After exhaustive use of these ideas, the concerto moves to its end, concluding with familiar ones stemming from the main theme of the first movement. There is great emphasis throughout the work on the orchestral coloring which contrasts and interacts appropriately with the solo excursions of the violin. Although employed in an unusually extensive capacity for concerto form, the orchestral forces are most often used in a very transparent manner. These features and others give readily observable evidence of the influences of early 20th century orchestral writing upon contemporary classical music composition. This work was made possible through an Indiana Arts Commission Summer Master Fellowship, a Ball State University Creative Arts Grant, and a Composer Assistance Grant of the American Music Center. First performance took place in Fort Wayne, IN on November 14, 1987 with Dmitry Sitkovetsky and the Fort Wayne Philharmonic, Ronald Ondrejka, Music Director.
Year composed: 1986
Duration: 00:42:00
Ensemble type: Orchestra:Orchestra with Soloist(s)
Instrumentation: 1 Piccolo, 2 Flute, 2 Oboe, 1 English Horn, 2 Clarinet, 1 Bass Clarinet, 2 Bassoon, 1 Contrabassoon, 4 Horn in F, 2 Trumpet, 3 Trombone, 1 Tuba, 1 Timpani, 3 Percussion (General), 1 Celesta, 1 Strings (General), ,1 Violin soloist(s), 1 Harp