Movement 1: Allegro moderato
Movement 2: Adagio
Movement 3: Allegro
In the Allegro moderato, a calm tutti leads to an orchestral call to attention and the violin enters with a forceful theme; the second subject is quite fluid and a quieter subsidiary theme is derived from the opening. A passage imitating a dramatic gesture in Brahms’s Violin Concerto leads via another subsidiary theme to the cadenza—all written out, as befits a violinist-composer—and the various themes are then reviewed. The Adagio in B flat major is very lovely and was made available separately by the publisher. It is in ternary ‘song’ form, with a quiet theme introduced by the orchestra and taken up by the violin; after a contrasting section, the main theme returns. The orchestra begins the rondo finale, Allegro, with a vigorous theme before the violin dances off with a new idea, which alternates with other material, including a rather martial section, before the dancing theme triumphs in the final Allegro molto, ending the concerto in a blaze of fireworks and a very positive D major. Surprisingly, after its initial success, this Concerto was not played again until Piotr Plawner took it up in 2011.
from notes by Tully Potter © 2014