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The Voice Inside, a concerto for violin, soprano and orchestra, was commissioned by the BBC and comprises settings of seven poems by Ron Butlin relating to the violin.

The various movements of the concerto explore different relationships between the two soloists and the orchestra. The soprano is mostly unaccompanied in the first movement, but as life is breathed into the violin it refuses to be hushed by the voice. The first scherzo is a game of tag and catch between the two soloists, with the orchestra acting as a referee. As befits a concerto, confrontation between violinist and orchestra begins the third movement. This grows into a three-way conflict once the soprano enters. The slow movement is an intense cantilena for the two soloists, with, for the most part, light orchestral accompaniment. In the second scherzo flashy violin writing alternates with orchestral outbursts and the soprano’s attempt to reel off the names of virtuoso violinists. The burlesque, with its reference to twelve equal tones, makes some misguided allusions to the Violin Concerto by Alban Berg, and the last movement is a desperate plea,simply asking to be heard.

Notes taken from Cresswell: The Voice Inside, NAXOS 8.570824

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• de Castro-Robinson: These Boots (are made for dancing); facsimile 

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According to legend, St. Vitus was the Christian son of a pagan senator of Lucania, Italy. He was known for his miracle-working, although his father tried to make him abandon his faith, through sometimes violent means. He fled with his tutor Modestus to Rome, where he was taken to exorcize the evil spirits from Emperor Diocletian’s possessed son. This he did, and yet, because he remained steadfast in the Christian Faith, he was once more tortured along with Modestus and his nurse Crescentia. By a miracle an angel brought back the martyrs to Lucania, where they died from the tortures they had endured.

Vitus reflects this legend by setting out a slowly modulating tetrachord articulated by the strings and brass, which the woodwinds ‘torture’ by means of completing the full chromatic gamut of pitches in sweeping moments of violent dissonance. The central section suggests an episode of St Vitus Dance, also known as Sydenham’s Chorea and Rheumatic Chorea, a temporary disorder of the brain that manifests itself in continuous, involuntary jerking movements.

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The image of the title appears in a poem by the Roman poet Catullus (poem LXX, although it is the image itself, not its context in the poem that attracted my attention). It suggests something fleeting, something ephemeral, something just out of the reach of conscious perception. There are no doubt also more literal echoes of wind, water, and the natural environment, but this is very much a landscape of the mind.

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• Premieres 2004, Volume 4 

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• Two Works by Philip Brownlee  Year: 2004 

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