dance s[peak]

A note sounds. From the quiet but restless tones that criss-cross the orchestra, the violin enters, singing, dolce; it soars above the rhythms of the orchestra and adds virtuosic flourishes. It does not take long for dance s[peak] to demand the mastery of technique that is expected from a solo violinist - brilliant sautillé, flamboyant ricochet, chords, and octaves. Here also a mastery of rhythm is required - the piece's fast tempo is unrelenting as it rollicks along, as would one expect of short works for solo violin and orchestra - after all dance s[peak] borrows its rhythmic intensity from Joplin ragtime rhythms.
Although dance s[peak] is sparsely orchestrated, the solo violin is nevertheless required to be strong and present. Following an orchestral interlude, the solo violin enters, developing further its opening tones that are found at the beginning of the work. After a short but technically demanding cadenza, the mood relaxes and solo violin has space to exhibit a longing cantible tone. A different dance is then interjected: exposed and lonesome, the solo violin regathers ideas from ragtime rhythms from before with an upwardly-moving theme. However this new theme leaves the orchestra unaffected, until much persuasion from the violin brings both parties to some form of consensus. With this aim finally achieved, the solo violin brings the work to an abrupt but capricious conclusion.