“It contains every crazy, technical thing you could possibly do on the violin…[Cameron] draws out such an incredible range of emotions from the piece, and her playing is flawless”
Stanford News
World Premiere: Wednesday, June 21, 2017
Czech National Symphony Orchestra
Violinist Sandy Cameron
Conducted by John Mauceri
Smetana Hall, Prague
Sony Classical Release: March 22, 2019
Featuring violinist Sandy Cameron and The Royal Scottish National Orchestra conducted by John Mauceri.
Concerto for Violin & Orchestra ('Eleven Eleven') was jointly commissioned by the Czech National Symphony Orchestra, Stanford Live, Stanford University and the Royal Scottish National Orchestra.
“Imagine Prokofiev in Hollywood.” —Anthony Tommasini (From New York Times Review of “Danny Elfman’s Music from the Films of Tim Burton”)
“I’m aiming for a concept with it that’s very tricky. To answer the...
“Elfman's music takes listeners by the hand and draws them deeper and deeper into a fairytale world - and then the virtuoso violin soars to dizzying heights… brimming over with joy and playful energy - but just as complex and smart”
Broadway World
“ ... [Danny] Elfman’s concerto is dramatic, lyrical, highly rhythmic, percussive (especially given its unusual cadenza-like back and forth between the violin and percussion), thoughtful and playful. The score is high adrenaline business, taking us on a musical roller coaster ride from the heights to the sudden-drop depth of emotions… The physical and emotional energy she [violin soloist Sandy Cameron] put into the work was downright compelling, exciting and extraordinary…The reception given her [Ms. Cameron] — and JoAnn Falletta and orchestra which were exemplary — was wild and crazy and prolonged, of the sort found at sports events. No question about electricity in the air.”
The Virginia Gazette
In Elfman’s brief but detailed essay about the work, he writes about wanting to compose music that might prove challenging to the ear of a cinephile while satisfying the classical music lover’s need for complexity and variety. To my ear, he succeeds in every way. The almost pastoral fullness that opens the concerto, the continual virtuosic displays and the detailed intricacy in orchestration were only some of the hallmarks. The third movement of the concerto, in a steady triple meter, seemed at times to be a kind of frozen music where deathly marches melt into lush, dream-like passages. The last movement enters with a brief and ingenious recapitulation of what had passed earlier in the concerto. It’s a beautifully balanced composition, continuously inventive while tethered to a significant structure.
Seen and Heard International
“Sandy is a force of nature and Danny's concerto is tremendous. Thanks so much for bringing this piece to me – I love it and loved working with her – she is really a star.”
