It was announced November 29th in Louisville that the 2005 University of Louisville Grawemeyer Award goes to George Tsontakis for his Violin Concerto No. 2. The world's top international composition prize, the highly-regarded Grawemeyer Award ($200,000) puts Tsontakis in the distinguished company of past winners such as John Adams, Pierre Boulez, John Corigliano, Gyorgy Ligeti, Witold Lutoslawski and Toru Takemitsu, to name but a few. The official ceremony will take place in April, 2005.

Violin Concerto No. 2 is a fascinating dialogue between solo violin and chamber orchestra, full of shimmering timbres, ranging from the contemplative to the joyous. It was written for violinist Steven Copes and the Saint Paul Chamber Orchestra, and was premiered at the Ordway Center in St. Paul, Minnesota, in April, 2003, with conductor Miguel Harth-Bedoya.

The 20-minute concerto is scored for Solo Violin, 1 Flute (doubling Piccolo), 1 Oboe, 1 Clarinet (doubling Bass Clarinet), 1 Bassoon, 1 French Horn, 1 Trumpet, 1 Trombone, Percussion, Harp, Piano (doubling Celesta) and Strings (soli or tutti). It is in four movements: I Surges (Among Stars), II Giochi ("Games"), III Cavatina (Heart), IV Just Go (Fast).

The composer writes:

"My first concerto was scored for a large orchestra where, in most instances, the forces provide for sonic blocks of granite alternately supporting and challenging the soloist's message and sound. In No. 1, the violin soloist is set apart as kind of a thoughtful anti-hero.

The Violin Concerto No. 2, written for the St. Paul Chamber Orchestra and its dynamic concertmaster, Steven Copes, is another story altogether. In this work, the soloist is a member - albeit the most important, center-stage and influential member - of an intricate musical tapestry formed by joining colorful, distinctly soloistic and individual instrumental partners. The concept of "orchestral" is diminished in deference to the concept of 'chamber.'

I wanted to harness and project the kaleidoscopic sparkle of this 'ensemble of soloists' without compromising the violin soloist's position of prominence. While designed to create a cohesive architectural whole, there is less emphasis on a dramatic narrative-curve and more on just how colorful and creatively dramatic music can be. At the same time, there would be little doubt that, in its own specific way, this work is truly a violin concerto."

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