My Violin Concerto is scored for a Classical-sized orchestra, with the addition of a harp and celeste, and lasts around 17 minutes. Although the work sets out to explore the lyrical characteristics of the solo instrument, it is only gradually that the violin finds its full, lyric voice, and thence, as the work progresses, a more dominant role. This, in one sense, is the 'journey' of the piece.The work's straightforward formal scheme consists of three movements (roughly fast-slow-fast) framed by a reflective introduction and epilogue. However, these formal divisions exist within a single, unbroken arc. Such an overall symmetrical shape places the slow Arioso (itself divided into three subsections) at the midpoint, sandwiched between the two Allegro movements. The dramaturgy of the piece centres on a twofold search. First there is the ongoing pursuit to 'recapture' the simple melodic material stated by the solo violin - accompanied by the harp's bass register - during the opening bars. Whilst aspects of this melody are invoked frequently throughout (especially in the violin cadenza which closes the Arioso movement), it is only with the final and most important climax of the work that the melody appears again in its complete form, now accompanied by violent, orchestral stabs. The second search is for a tonal resting place, the arrival of which is delayed until the close of the epilogue.The original version of the Violin Concerto, commissioned by the Netherlands Chamber Orchestra, was premiered in Amsterdam in February 2012 with Gordan Nikolic as soloist. The present, revised version was created for Barnabás Kelemen and the Hallé. The piece is dedicated, with admiration, to my friend Oliver Knussen. (Ryan Wigglesworth) / Violon Et Orchestre

Per Nørgård's Helle Nacht (Light Night) - Violin Concerto No. 1 dating from 1986-87. Programme note: This is my third work for solo string instrument and orchestra the other two being 'Between' for cello and 'Remembering Child' for viola. The title 'Light Night' refers to the caracteristics of each of the four movements. The 'light' translucent quality of the melody sound and rhythm woven into a fine filigree; the Night revealed in the multi-layered possibilities of interpretation like/constantly/changing the aspect of a turning prism with each performing appearing differntly to the listeners. Ofcourse this is more or less the case with every musical work but in HELLE NACHT the ambiguity is made innermost principle. The first and last movements form a symphonic frame for the inner two more static interludes though even in these light is constantly breaking through. I wrote the concerto during 1986-87 at the request of Anton Kontra. Per Nørgård

On July 30 1838 Mendelssohn wrote to Ferdinand David his concertmaster at Leipzig telling him that he would like to write a Violin Concerto for him: One in E minor goes through my head and the beginning will not leave me in peace. This Violin Concerto is now a pillar of the Violin repertoire and is commonly known as the Mendelssohn Concerto.