Op. 19 Sinfonia Concertante シンフォニア・コンチェルタンテ


Op. 19 作品番号19
Title: Sinfonia Concertante 作品名:シンフォニア・コンチェルタンテ
Length: 33 minutes 長さ:33分
Completed: 2023 完成年:2023年
Scoring: Two Violins, Orchestra 編成:バイオリン2台、オーケストラ
First Performance: TBC 初演:未定
Sheet Music: No 楽譜:なし
YouTube Recording: No YouTubeで録音:なし
Commercial Recording: No 録音販売:なし


A work for two solo violins and orchestra in which the soloists blend with the chamber orchestra (strings, two oboes, two horns, harp) in a classical style rather than play against the orchestra in the manner of a virtuoso romantic concerto.


Sheet Music Download 楽譜のダウンロード

Coming soon


Programme Notes 曲目解説


From 1998 to 2001, I worked at Nagaoka University of Technology in Niigata Prefecture on the Japan Sea side of Honshu Island. I joined Nagaoka Symphony Orchestra as a violinist. During 2000, in addition to my work at the university and weekly orchestral practice, I was immersed in composing Requiem. As a result, I developed severe repetitive strain injury (RSI). The doctor prescribed complete rest from violin playing and computing. The symptoms eased, but for years thereafter I had to ration my computing time at work. Unable to play for more than five or ten minutes without another flare-up, RSI ended my 20-year playing career as an amateur violinist.

On one level, Sinfonia Concertante may be listened to simply as a double violin concerto in the classical style/structure of Mozart’s work of the same name. On another level, however, the events that ended my violin playing career form the narrative backdrop for the work.

The first movement opens with a Moderato section evoking the remoteness of the Japan Alps. The strings flow downwards in an evocation of the Shinano River. As the river reaches Nagaoka, the orchestra can be heard tuning.

The Allegro section then begins with a violin melody in E minor played above a quiet string accompaniment. This is an homage to the piece which ignited my love of the violin and classical music as a teenager: Mendelssohn’s Violin Concerto. The second subject is built around the leitmotif “Bamberg” B – A (Minim) – B – E (Repeated) – G. The highlight of my time in Nagaoka Symphony Orchestra was in April 1999, when we played two concerts in Germany as part of the Bamberg-Nagaoka municipal exchange.

Just before the first subject returns, there are ominous indications that not all is well. An orchestral tutti combining pizzicato and col legno – representing the “snapping” of my tendons – leads into the cadenza. During the cadenza the feelings of desolation are replaced by a resolution to seek new opportunities through composition.

The middle movement, Adagio, is in simple A-B-A form. The first section evokes a lonely post-violin existence. The more upbeat middle section contains dates of concerts of my compositions concealed within the melody line. This movement is a heartfelt thank you to all the musicians who have played my music ever since I became unable to play it myself.

The final movement, Allegro, is in loose sonata form followed by an extended Coda. It is built around a syncopated motif representing debilitation. This motif, as with so many other motifs throughout Sinfonia Concertante, appears repeatedly in various forms and at various tempi, most notably at a much slower tempo in the development section as an extended horn solo.

As the Allegro approaches its natural ending, the orchestra fades out and the extended Coda begins. Having been rooted in minor keys for so much of the piece, Sinfonia Concertante ends resolutely in C major. I do not dwell on the loss of my violin playing days. Ultimately, Sinfonia Concertante expresses how, via composition, I found a silver lining to that particular cloud.