Violin Concerto (Britten)

Benjamin Britten's Violin Concerto, Op. 15, was written from 1938 to 1939 and dedicated to Henry Boys, his former teacher at the Royal College of Music. Britten worked on it while staying with Aaron Copland and completed it in Quebec. It was premiered in New York on 29 March 1940 by the Spanish violinist Antonio Brosa with the New York Philharmonic conducted by John Barbirolli. A year after its first performance in New York, the concerto was performed for the first time in England at Queen’s Hall on 6 April 1941. It was conducted by Basil Cameron, and the soloist was Thomas Matthews, leader of the London Philharmonic Orchestra. It received its first broadcast performance with the BBC Orchestra, conducted by Clarence Raybould and Thomas Matthews as soloist, on 28 April 1941.

Revisions
Britten revised the concerto in 1950, 1954, and 1965.

The first revision, including alterations of the solo violin part prepared with the assistance of Manoug Parikian, was performed by Bronislav Gimpel and the Royal Philharmonic Orchestra under Thomas Beecham in 1951.

Britten wrote to Albert Goldberg in October 1950, saying:

"It was written in 1939, & although it has been played quite a lot here & abroad I have never been happy about the form of it... The fact that Heifetz was going to play the work spurred me on to looking [at] it again from this point of view, & that I have just done. There is no structural change in the work – a shortening here & a rewriting there is all I've done. There is no new material at all, although a complete rewriting of a violin passage in the last movement is a new development of existing stuff. The cadenza is shortened, & a rather embarrassing chord for orchestra in the middle of it is removed. I hope what I have done is to leave the work as it would have been had I been able to write it in 1939 with my present experience. I think I bit off then a bit more than I could chew! – especially in the last movement."

Instrumentation
The concerto is scored for solo violin and an orchestra of three flutes (second and third flutes doubling piccolo), two oboes (second oboe doubling cor anglais), two clarinets, two bassoons, four horns, three trumpets, three trombones, tuba, timpani, percussion (glockenspiel, cymbals, triangle, bass drum, side drum, tenor drum), harp and strings.

Structure
The concerto is written in three movements:


 * 1) Moderato con moto – Agitato – Tempo primo
 * 2) Vivace – Animando – Largamente – Cadenza
 * 3) Passacaglia: Andante lento (Un poco meno mosso)

This form, although in three movements, is highly unlike that of concertos from the Classical and Romantic eras. First used in the First Violin Concerto of Sergei Prokofiev, this design is also evident in the concertos of William Walton and later in Shostakovich's first violin concerto, that has a structure that clearly recalls Britten's concerto.

A typical performance lasts around 33 minutes.

Analysis
The work opens with a series of timpani strokes, a reminder perhaps of Beethoven's 1806 Violin Concerto. The rhythm is taken up by the bassoon and other instruments, persisting as an ostinato throughout the entire work. The violin enters with a song-like lament, soaring above the orchestra. The music is soon interrupted by a more militaristic and percussive secondary theme.

The ensuing second movement, cast as a wild, moto perpetuo scherzo, unmistakably recalls Prokofiev. The movement culminates in an impressive cadenza which, while recalling musical material from both the first and second movements, acts as an organic link straight into the finale.

As the finale, Britten uses a passacaglia: a set of variations on a ground bass, in the tradition of the Baroque chaconnes by Purcell and Bach. The ground bass, tonally unstable, is initially introduced by the trombone, as the violin recalls its lyrical theme from the first movement. Individual variations unfold, taking up characters of song, dance, capriccio and march. By the end, the ground bass is reduced to chant-like reminiscences; the orchestra leaves hints of an unmistakable D major chord, while the soloist is left undecided in a trill between the notes F-natural and G-flat.