Written for my dear friend and extraordinary cellist, Caroline Stinson, the Concerto for Cello is my first solo concerto (I have never before been particularly drawn to Concerti, or the traditional concerto form). When Carrie approached me about writing a work for her, I knew this was the perfect project to dispel my hesitation (fear?).
Cast in two movements, the work displays more of my recent fascination with both serialized pitch usage and minimalist rhythmic patterns, while hopefully retaining the drama I strive to imbue in all of my music. The first movement explores a fairly strict serial treatment of a nine-tone pitch row (stated clearly in the first bar), punctuated by a few notable moments of triadic harmony (still melodically related to the row). The second movement exploits the natural harmonics of the Cello, and is thus necessarily in a bright D-major (veering toward A-major) tonality, full of life and joy.
The Concerto is scored for an orchestral wind section plus percussion (see Instrumentation List on this page), so that either a symphony orchestra or a wind ensemble may perform the work using existing personnel.
Commissioned by: Caroline Stinson, Cornell University Wind Ensemble, Ridgewood Concert Band
Dedicated to: Caroline Stinson
25 March 2011: Ridgewood Concert Band, Chris Wiljhelm, conductor
30 April 2011: Cornell University Wind Ensemble, Cynthia Johnston-Turner, conductor
Flute I – II – III
Oboe I – II
Bassoon I – II (dbl. CBsn.)
Clarinet in Bb I – II
Bb Trumpet I – II – III
Horn in F I – II – III – IV
Trombone I – II – III