As a composer, my work could often be described as chamber music writ large, with a focus on intricate and intertwining melodic passages. When asked which instrument has the lead at any particular time, often I would struggle to give a concise answer (apart from all of them). In a sense, a concerto is the opposite of this - there is a very clear lead instrument that, rightfully, takes the attention. Yet there is scope also for the interplay that I love from chamber music in these larger works, with the soloist working with and against the orchestra.
Concertos are also a chance for a soloist to really show off their instrument and what it can do (as well as what a performer can do). I have recently revamped and published four concertos, featuring three instruments. These are instruments that have a particular meaning for me - I have played clarinet for many decades, have dabbled in viola, and know some fabulous cellists. Not coincidentally, my immediate family includes players of each of these instruments.
The cello has a lovely deep voice and rich timbre throughout the range, as well as the ability to play in the upper registers. Concerto No 3 in C Minor opens with the open C resonating across the orchestra, before moving up the cello's range.
While the butt of many a joke, the viola is one of the most interesting orchestral instruments. It is often overlooked, but it's tone adds richness and complexity to any work. Concerto No 1 in E Minor is my love song for this neglected instrument. While originally composed in F, the tonality of E minor is much more suitable (and playable). This work is the most traditional of the four, with a clear distinction between soloist and accompaniment.
The clarinet, quite rightfully, has a large body of existing work. As well as a range of over three octaves, the clarinet also has an incredible dynamic range available. Concerto No 5 in G Minor is an intricate and detailed work for solo clarinet and orchestra, with an emphasis on drama, range, and much more interaction between the orchestra and soloist. It is also the longest of the current set of concertos, requiring significant effort from the soloist. In my view, however, this effort will be very well rewarded.
Concerto No 4 is a bit different. Firstly, it is in F Major, rather than a minor tonality. It is also a double concerto featuring a duet between viola and clarinet, with orchestra. Each of the solo instruments has an opportunity to show off, but it really is their work as a duet that makes this concerto special to me.
Each of these works was originally composed with the orchestra in mind. Sometimes I started with the solo instrument, with the orchestra coming after. For Concerto No 5, the dramatic opening passage in the orchestra were the first notes written. I knew roughly what I had in mind for the clarinet, but this work developed in a different form. While reworking each concerto I created a piano reduction of the orchestral accompaniment. Sometimes this was fairly easy (a solo bassoon line is very simple to translate to piano), but other times the more complex harmonies were lost. The piano parts have been written to be possible, if not simple to play. When performed with piano, there are many cuts that can be made - the piano is a beautiful instrument, but cannot do a full orchestra justice, and when used as an accompaniment for a soloist the focus rightfully needs to be on the solo instrument. The piano and soloist scores are also available on MusicaNeo.
On a final note, although live performances are the ideal, full score videos for each concerto with either orchestra or piano are available here. Feel free to listen to the full works, in either (or both) version.