Update Title: A87B1946-A34B-4E2B-992F-F017235599F6

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I had long been  wanting to write a concerto for orchestra.  Having written one for piano, oboe, violin, two violins, trumpet, French horn, trombone, and viola, I thought it was time to get around to writing the concerto for orchestra.   I always knew, in the back of my mind, what the formal outline would be.  My intention was always to follow the same format that Paul Hindemith had used in his "Symphonia Serena" written for the Dallas Symphony in 1948.  That is a four-movement piece in which the first and last movements are shared by everyone; the second movement featuring winds alone, and the third movement featuring strings alone.  In the case of my piece, I decided not to have "movements" per se, but to write an extended one-movement piece with clear-cut sections.

There was one other thing that Hindemith did in his "Symphonia" that always inspired me as a composer, and that was to have the string play a section with their bows, a section plucked, and then both of those musics played together.  This was a challenge for me as a composer and I personally am happy with the results.

The final appeal of the piece, I hope, will come from its dramatic content, and the unique and contrasting character of its sections. --John Biggs

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