Florence Price’s Violin Concerto No. 1
Notes by TŌN violinist Shan (Serena) Bai
For 70 years, Florence Price’s Violin Concerto No. 1 in D major remained a voice waiting to be heard. Written in 1939, the concerto was largely unknown until 2009, when a collection of Price’s manuscripts was discovered in her former summer home in St. Anne, Illinois, including both of her violin concertos. Its rediscovery brought the concerto back into the musical world, revealing a musical language rooted in the Romantic tradition, yet distinctly Price’s own.
The first movement has a strong sense of storytelling. From the beginning, I hear echoes of Tchaikovsky’s Violin Concerto in D major, a connection that returns near the end, where the coda feels almost like an homage to Tchaikovsky. There is a sweeping Romantic quality to the writing, with lyrical melodies, virtuosic passages, and expansive orchestral interludes. I especially love the way the solo violin interacts with the brass and woodwinds, with melodies passing between them almost like a conversation. This sense of dialogue also seems to extend to the different musical styles within the movement. Alongside its Romantic character, Price introduces syncopation and blues- and jazz-inflected gestures, giving the music a freer, more improvisatory quality. I enjoy hearing how these different musical influences come together throughout the movement.
The second movement is my favorite part of the concerto. Its long, singing violin lines and warm, nostalgic atmosphere give it an almost cinematic quality. The lyrical writing reminds me of the second movement of Korngold’s Violin Concerto, and it also brings to mind the atmosphere of classic Hollywood romantic films like Roman Holiday. When I listen to this movement, I often picture scenes from the film: the elegant scenery, the slow and gentle romance, and the sense of nostalgia with just a little sadness underneath. It feels like an old film unfolding in front of me.
The final movement suddenly changes the atmosphere. Short, energetic, and almost constantly in motion, it has the character of a playful perpetual motion. After the expansive first movement and the lyrical second, this light and spirited finale brings the concerto to a concise and exciting close.