Violin Concerto in G-Minor

Hey there! I hope everyone's having a great day-after St Patrick's day.

I started writing this concerto quite some time ago, and as it stands, the third movement is still unfinished. I've just been writing it as it comes to me.

The first movement was completed sometime in 2004 and has been subject to random editing since. It's very traditional as far as romantic concerti go, in my opinion, but I feel like the folk melody makes a break from that. This movement was an experiment for me to see if I could blend that type of folk music in with some of my other influences. The second movement has gotten some criticism for being too simplistic, but there is supposed to be a simplicity to it. This movement takes to folksong aspect to another level, and I try to do with the violin what I would not be able to do if I were composing for a singer. The third movement has only a minute and a half completed and really isn't worth posting yet.

Here's the first and second movements of my violin concerto! I hope you enjoy it and have lots of comments to share. ^_^

Violin Concerto In G-Minor I. Allegro Con Fuoco.mid

Violin Concerto In G-Minor II. Adagio Arioso.mid

vcgminorX.nwc

vconcertogminor2ndx.nwc

Hrm. I get the distinct impression I've heard the first movement before. Have you posted this piece somewhere else?

I think I recognize your icon from the composer's_forum community on LJ.

While this concerto is far superior to many I've encountered on this board, it is still lacking considerably in certain areas. Your introduction is compelling and generates interest and anticipation in the listener. However, what follows fails to satisfy. Your opening theme is moderately good (it reminds me of the Bruch concerto... was this intentional?) though you fail to expand on it adequately throughout the remainder of the piece. Also, your part writing is rather dull and monotonous, albeit I readily admit that many prominent composers neglected the orchestra when writing a concerto and, in truth, the orchestral part should be rather banal to draw attention to the soloist. They are playing, after all, the accompaniment.

The piece is very solid technically, but lacks musical/emotional appeal. As stated, the repetitive themes and predictable harmonic changes are lackluster at best. Lastly, please do not abuse the trill. Once again, you are certainly not the only composer guilty of "trill exploitation", but whenever I hear frequent, extended trills in a solo passage in a concerto I always think "well, evidently the composer could not think of anything to write here so he just stuck in a trill for good measure." This is my personal take on the matter, but many players and audience members alike will tell you that overused trills get boring very quickly. In a more general sense, the solo violin part isn't very virtuosic for a Romantic concerto. Modern-day players are quite adept at dealing with far more difficult parts that what you have written in this piece. Don't get me wrong though--- one should never sacrifice beauty and lyricism for empty technical flourishes.

I realize that this review probably sounded terribly harsh, but believe me, if I didn't think your piece had excellent potential, I would not have bothered critiquing it. Many of my criticism are merely based on opinion, not justifiable facts. Regardless, I still think you should consider revising this piece to turn it into something truly outstanding.

Look forward to hearing more from you.

EDIT: This review only applies to the first movement, Allegro con fuoco. I did not listen to the second movement.

Hey James, just as a shameless plug, would be interested to see what you make of my violin concerto, live recording with score here in the major section!

Umm...That was a pretty shameless plug.

I must say, you are a master of deception. :w00t: Once again, your opening lures the listener in with an intriguing woodwind melody, yet the rest of the piece has no sense of direction. The melody you give to the solo violin seems to wander aimlessly and the lack of cadence is quite unsettling. Honestly, I think you have a pretty sound harmonic style, but your melody lines need considerable work. A melody (particularly one written in the Romantic style which you seem to favor) should be easy to remember, hum and whistle. If it isn't, then it isn't a very good melody, at least in the traditional sense. Motifs are even more memorable, only consisting of a few notes. For instance, the 4 note opening of Beethoven's 5th is said to be the most recognizable motif in classical music of all time.

Regarding melody, you would benefit enormously from studying some of Tchaikovsky's symphonies and his famous violin concerto (though I don't suggest you attempt to write anything like that just yet--- the solo part is supposedly one of the most technically difficult pieces in modern violin repertoire.) He had a excellent sense of lyricism and was also one of the prolific composers who epitomized the Romantic era sound--- lush, grand and emotional. I imagine you will enjoy him as you already write in his style.

Keep composing and keep learning. I, too, have a long way to go.

As a violinist/violist, I just wanted to chime in here.

I agree with James as far as the technical passages go. Most of the passages seem to be very scalar and done on 1-2 strings in lower positions. If you wanted to get a better sense of how to integrate folk melody into orchestral writing, I would take some time and study Bartok, especially his rhapsodies for violin. Another piece I STRONGLY recommend is Ravel - "Tzigane". This is folk violin the way it was meant to be written, and the piano/orchestral part will help show you the collaboration needed between the soloist and the accompaniment. Another set of pieces that may help you are the Dvorak sonatae for violin/viola and piano. He also writes beautiful, nationalistic "folk" melodies, writes technically challenging music, and has great collaboration between his parts.

Another late-Romantic, folk-melody inspired concerto is Chausson's concerto for Violin and Piano solo with string quartet. Chausson does what it seems like you want to do - write something that is "simple", but profound.

Also, I would suggest studying folk harmony a little more. Most folk music (at least, the kind of folk music you're trying to write) doesn't follow the traditional tonic-dominant relationships, or even the mediant relationships of Romantic music. I'd look at Bartok again for his take on folk harmony.