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Program NotesConcerto No. 1, Violin and Orchestra (1995) WILLIAM THOMAS MCKINLEY For its first few minutes, the Concerto for Violin and Orchestra
presents us with a highly rhythmic theme reminiscent of a nineteenth century
European dance in an unusual 12/8 time. Subtitled "Winter," this movement
features spikes of percussion as intricate as icicles. While not a
programmatic piece in the same way as Beethoven's Symphony No. 6
("Pastoral"), the clashing symbols and the highly regular tempo may remind
listeners of someone trudging with determination through a storm. The
lyrical cadenza that begins around 5:00 (and concludes the movement)
provides a transition from the tumult. The pizzicato even sounds like
melting droplets. The second movement, "Spring," features the same degree of
use and respect for percussion as Bela Bartok employs in his Violin Concerto
No. 2. The violin's rapid fuoco figures convey a sense of urgency and
tension. Snare drums and brushes contribute to the fiery pace, as does a
sudden burst of orchestra dissonance. Could this be the violent cycle of
spring's rebirth? The music uses so many devices that it's fruitless to
force it into one conceptual or emotional scenario. The dialogs between the
soloist and the orchestra are alternately polarized and interactive.
Distinct thematic ideas and fresh textures abound, like the staccato dialog
with the orchestra at 6:20, one that features impish pizzicatos. The
movement ends diminuendo and "Summer" gracefully appears. More than any
other device, McKinley's seamless transitions between movements evoke the
gradual changing of the seasons. Before "Summer's" first minute ends, we are
treated to a visit by an old friend, the theme from Porgy and Bess's
"Summertime" by George Gershwin. Yet unlike Aaron Copland's famed quoting of
Shaker songs, McKinley's quote never takes over the original melody. Rather,
it appears sporadically throughout the movement like a rare breeze on a
sweltering day. Sometimes this musical "weather" changes abruptly. One
melancholic theme becomes agitated, only to sink back into melancholy. This
movement's concluding violin solo winds a spring of tension, gives us a
final whiff of "Summertime," and sprints into "Autumn." This agitated presto
opening establishes a rhythmic and decisive mood, but soon the tempo slows
down. There is an agitated dialog with strings that swings into a delightful
imitation. At 1:50, the violin interrupts a martial-sounding section then
terminates it with a short dramatic solo. Soon a sardonic two-note dialog
ensues between the soloist and other strings. As the coda ensues, the violin
demonically mocks the orchestra using extreme high register. In the last few
seconds McKinley tantalizingly withholds the conclusion, then ends the piece
with a satisfying tutti. Peter Bates |
