Violin Concerto

Morgan Hayes (1973)

Violin Concerto 2006

1111/1110/perc(1)/harp, piano/11111
Duration 
16
Solist 
Publisher 

The Cadenza which occurs towards the end of the concerto partly takes its cue from Lucky’s preposterous speech in Beckett’s ‘Waiting for Godot’……up ‘til that point in the play (quite far in, as I remember) Lucky has been ominously silent, then all of a sudden pours forth this great torrent of gibberish. The Violin soloist in my concerto has been anything but mute (almost constantly in action)but never quite gets a foothold, battling against massive tuttis, fierce brass interjections and (at the start)consigned to an almost chamber music like role.

The starting point for the Cadenza was to put all the fast passage work end to end: continuous, as opposed to intermittent flourishes, and the ensemble quiet for the duration, very much in the background. Here, the interjections are friendly rather than threatening in any way.

In a sense this work is partly about previous violin concertos (hence the abstract title):snatches of the past repertoire get washed up in the flotsam along with a structural underpinning, of the significant difference between flat keys (the opening is in Bb) and sharp keys (later ,large portions in E major) on all stringed instruments.

The juxtapositions of soloist against ensemble are no less extreme than the idioms which are embraced: the sweet modality of the opening quickly collides with more jarring tonalities.

Morgan Hayes

Performances 
9.5.06 CBSO Centre, Birmingham: Keisuke Okazaki (violin) / BCMG / Franck Ollu
1
Flute
doubling piccolo
1
Oboe
cor anglais
1
Clarinet
doubling Eb clarinet and bass clarinet
1
Bassoon
doubling contrabassoon
1
Horn
1
Trumpet
in C
1
Trombone
1
Percussion
1
Violin
1
Violin II
1
Viola
1
Cello
1
Double bass
1
Harp
1
Piano
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