The Red Violin




Chaconne for Violin and Orchestra
Soloist(s) and orchestra



Soloist(s) and orchestra


3 flutes (2 doubling piccolos), 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 C or D trumpets , 2 trombones, bass trombone, tuba, timpani, percussion (3 players), harp, piano or celeste, and strings


17 minutes

commissioned by


Joshua Bell, violin, with the San Francisco Symphony Orchestra, Robert Spano, conductor; San Francisco, CA (November 26, 1997)

Program note

The Red Violin: Chaconne for Violin and Orchestra draws upon music I composed for the film of the same name. The film spans three centuries in the life of a magnificent but haunted violin in its travels through space and time. A story this episodic needed to be tied together with a single musical idea. For this purpose I used the Baroque device of a chaconne: a repeated pattern of chords upon which the music is built.

Against the chaconne chords I juxtaposed Anna's theme, a lyrical yet intense melody representing the violin builder's doomed wife. From these elements I wove a series of virtuosic etudes for the solo violin, which followed the instrument from country to country, century to century.

I composed these elements before the actual filming, because the actors needed to imitate actual performance of the music. Then, while the film itself was shot, I made - from Anna's theme, the chaconne, and the etudes - this concert work. While I scored the film just for the soloist and string orchestra (to emphasize the "stringness" of the picture), I composed this seventeen-minute concert work for violin and full orchestra.

As The Red Violin: Chaconne for Violin and Orchestra begins, diaphanous ascending string lines unveil the chaconne chords, voiced in incantatory dotted rhythms, in low winds and brass. Then solo violin and orchestra utter, and expand on, Anna's theme. Virtuosic etudes quicken the pace, lead to a rushing climax; these yield to a stratospherically high, gravely slow melody, which remembers, against slowly shifting string sonorities, Anna's romantic theme. The string chords louden, strengthen with winds and brass: then the soloist reclaims, in determined accents this time, the diaphanous string line that opened the score. The orchestra halts to launch the soloist's cadenza, impetuous and songful by turns: then the chaconne, in strings chords rendered brittle by sharp attacks with the wood of the bow, gradually climax in a grand tutti restatement of the incantatory opening and a whirlwind coda for all.

– John Corigliano


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The Red Violin (Soundtrack)

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