Yes, the climbing , descending, singing human voice of the solo instrument, its joy
and radiance and despair and roughness and cantability as my
violin threads its line and lovely trellis-work up
from the open G string to the highest regions of the E string.
String joy. Great energy ! Great . Sing it !
In this opening movement
the short brass and wind chorales punctuate the violin´s Amhrán Mór, Great
Song. Always my opening melodic idea and a second little ” lusingando”
playfulness is the spiel . In the middle of this movement the
cadenza is ( – well, as it always is ) the soloist´s
show-off acrobatics, the violinist painting his canvas with his
sparkle of ideas, but they are all won from the opening tones ( as in
Beethoven, Mendelssohn, Brahms… ) , all woven into the orchestral
canvas.
The Second Movement is all melody ( But can we in this 21.st c.
still compose a Lied ? Yes, we can ! ), lovely and ravishing .
Four times comes this Lied ( built again from my seven
building-blocks of that First Movement opening ) . In German ” Lied”
( “Song” ) is close to ” Leid” ( ” Suffering” ) . The central Cadenza
distills the
very essence of both. Then, near the close, the violins have
the singing before the soloist´s final lovely pizz. and sigh.
The final Third Movement has a Mozartian last movement
energy with its forward movement of fast ( string ) semiquavers,
it´s racing towards its end. ” In my end is my beginning” – it sums
up, it quotes the First and Second Mov.s before
pitting itself again against strong orchestral forces,
tiny David against his Goliathic orchestra, light and shadow and
gossamer explosions and clouds and heavenly regions, the hole thing . The
solo instrument has the last say, its last sigh rudely cut off by low
celli and basses.