Concertino in F for Solo Violin and String Orchestra

My first rule when composing is that the piece must please the ear of the listener. For that reason, most of what I compose is in the traditional, tonal style used by all the greats including Mozart, Beethoven, and Bach.

Some argue there’s already so much of this music out there that there’s nothing left to compose in the genre. Applying that same logic, songwriters shouldn’t write new love songs because millions have already been written. Yet, new love songs seem to make it to the pop charts every day. If the public’s appetite for new love songs is limitless, why should it be any different with new classical music written in a traditional and tonal classical style?

Well that’s what I’m hoping anyways.

And so, it is with great pride that I am adding another contribution to the vast library of traditional and tonal classical music. This is my ‘Concertino for Solo Violin and String Orchestra in F’. I wrote this when I was 11 years old over the course of two or three weeks.


Get a copy of the sheet music. It’s free but a small sponsorship is appreciated and will help pay for my music education. Thank you.


This piece is set in a form called sonata-allegro form. It is made up of four parts; an exposition where two themes are stated, a development section, a recapitulation, and a coda which brings the piece to an end.

The concertino starts with a mysterious introduction, played only by the orchestra. The music escalates until the violin soloist appears and leads the orchestra to the first theme. This theme is lighthearted and graceful, first appearing in the high register, then moving to the low register.The theme is stated in 16th notes, but quickly modulates to C major, where a fast and technical violin passage ushers in the second theme.

The second theme is slow and lyrical and is heard first in the middle register, followed by the low register, and finally in the high register. A very difficult cadence theme follows, ending with a sudden shift in key to B flat major.

Next, in the development section where the first and second theme are fleshed out, the key shifts from B flat major to G minor, then to C minor, then to F major, then D minor, then G major, and finally E minor.

Then comes the cadenza, which is where the violin soloist shows off his technical prowess without orchestra accompaniment,which brings the key back to F major and leads into the recapitulation.

In the recapitulation, the first theme, the second theme, and the cadence theme are repeated as before, except the second theme and the cadence are both in F major.

A two part coda follows; the first part is very slow and quiet, and serves as a gateway to the second part which is very fast and loud, which provides a fitting end to the piece.

Do you prefer classical music like this that is traditional and tonal? Or do you prefer some of those other experimental styles that seem to appear frequently in contemporary ‘classical’ music? Please share your thoughts in the comment section below.


  • A.R. says:

    A very wonderful, idiomatic composition, beautifully scored for both violin and orchestra.

    I agree that there are endless possibilities with writing in an 18th or 19th century style, but it is also important to keep in mind that a work of beauty is possible without making a pastiche of the past. A good example is the “Affairs of the Heart” violin concerto by Marjan Mozetich.

    But if you feel comfortable writing in a traditional style, then feel free to reject the above paragraph. The art of music composition is all about finding a compositional voice that you feel that you can develop on and retain for a long period of time.

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