This composition is the materialization of a project that I envisioned long time ago and that I finally was able to complete between 2019-2020. The concert genre has been treated generously in my catalogue: two flute concerts, one for guitar, one for clarinet, as well as other orchestral works that can be considered “concerts for orchestra”. With its abundant and exquisitely rich concert literature, the violin has posed a great challenge in my composing journey, which I now present, obviously with a deep respect for the wonderful works composed for this instrument, and with the satisfaction of having concluded an ambitious project.
Violino concerto is articulated in three movements although the last two are played one after the other, as if they were one movement. The role of the soloist is different in each of them. In the first one, the soloist has a dialogue with the orchestra and is accompanied by it. The violinist flaunts several cadences and always maintains the tension of the discourse. In the second, except for the cadence, the soloist cedes the spotlight to the orchestra where the percussion plays a distinctive role. And in the third “Finale:Fuga-hoquetus” the violin joins the orchestra in a counterpoint lattice without developing a cadence and even eventually relinquishing the spotlight to a soprano voice that fleetingly delights us with a poem by Federico García Lorca. The score, which goes over the half hour in duration, concludes with this lament alluded to by the poet.
From a thematic point of view, we could say that several elements appear throughout this piece, but only one of them becomes the motor of the entire composition, appearing often more or less transformed, and turning into the subject of the fugue that concludes the concert.
This piece was written in memory of the composer’s mother.