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Krenek has commented extensively on his 2nd violin concerto; those interested in his analysis will learn minutely how it is structured and how the motifs in its three movements are interrelated. Listeners will of course recognize that it was written in his dodecaphonic period – much more important, however, is the strongly emotional impression it leaves – the fragility of the solo part, its tendency toward contemplation, in opposition to the more dramatic and constantly disruptive orchestra. The contrast becomes especially stark when the violin is left alone, followed by the ensemble’s forceful accents, whereby the lyrical second movement is a welcome intermezzo of calm.