The Violin Concerto (commissioned by the Cultural Capital of Europe Linz 2009 / unfinished)

“Although this serial technique, and other musical techniques, such as inaudible palindromes and 'secret' codes are borrowed from Berg's compositional toolbox, the soundworld is essentially different. The last section, for example, with its pulse-line construction, might be said to have more in common with a Zimbabwean mbira piece than with the so-called Second Viennese School of the early 20th Century.” from: Keith Goddard * Violin Concerto * Overall Concept, (unfinished)“

Dear Peter A (email 04/03/2008)

Peter K gave me some good news about the concerto. I just wish I could get

to the end of that damned third movement which is so fast. I will try this

weekend although it seems to be racing ahead now. I expect it will be the

usual thing with me: it will suddenly stop unexpectedly.

I am still unsure about the exact instrumentation, for example if I need one

or two oboes. I have attached a tentative list which provides no surprises.

I am discovering that many of the textures are based on contrasts of sound

so, instead of two flutes, it becomes flute and oboe etc. I want absolute

clarity and not even a hint of instrumental redundancy which might cloud the

violin.

I have not forgotten the Berg origins but, like Berg, I don't think I need

to describe the piece programmatically. Besides, it is shaping itself very

differently from what I first imagined. It is smaller, faster and more

chamber-like.

Do you ever get the sense that you don't know where the notes comes from? I

just know what the next note is and even when I get the entrance of the note

wrong, I know its wrong and have to move it until it's in the right place.

Most extraordinary.

... with regards Keith

more details: sketches and scores of movements # 1 - # 4