About this Piece

Concentric is a piece about expansion and contraction. Almost all the music in this work is derived from the contrasting violin solos that bookend it: the opening one quiet and introspective, the closing one more energetic and bravura. From these seeds the music spirals outwards (or inwards) in a set of variations—each subsequent one stretching the material further in register, resonance, and intensity before receding to reveal the next.

The concept of concentricity wasn’t on my mind when I first started composing, but it gradually became apparent to me in the structure of the music as I worked. I started to think of each variation as a ring or a wave growing out of the initial impetus, like ripples on the surface of water, but rather than losing energy as they expand, they build in momentum and expressive intensity. The ensemble writing also reflects this sense of motion and transformation: While the violin plays a central, almost soloistic role, each member of the septet contributes to shaping the evolving texture, with their individual voices shifting into and out of focus throughout.

Rather than traditional harmonic or melodic development, Concentric relies on more tactile elements—register, timbre, and dynamics—to carry its narrative. The harmony remains deliberately restrained; contrast and tension are achieved instead through shifts in density, instrumental color, and subtle changes in pacing.

For me personally, this work represents much more than the concept behind it. For almost five years after moving from London to LA, I wrote no music at all; I believed composing was behind me for good. Then in 2024 my good friend the composer Patrick Cannell invited me to write for his Agreement of Sound series of concerts. Despite my hesitations I agreed to do it, and the result is this piece of music, which I am honored to share with you this evening. —Benjamin Picard