Violinist Gregory Fulkerson upped the performance standard of my amplified ensemble when he joined us many years ago, and he’s continued to challenge me ever since. When he asked for a 21st century take on a 19th century virtuoso form — a fantasy on themes from my opera — I didn’t hesitate for a second. Working with him on refining the violin writing and massaging the piece’s proportions has been a joy.

–Conrad Cummings

Conrad and I go way back. I played in his Ensemble on and off from the 1980s, and we have become close friends. I have been a resource for helping to bring keyboard pieces to full score, beginning with his harpsichord piece Denouement (1988/1991), and most recently with his latest chamber opera The Golden Gate. I loved the quirky harmonic language and deep lyrical feeling in the opera, and asked him to consider creating a violin fantasy in the 19th century virtuoso style. This turned out to be no easy trick – the opera is essentially through-composed – but he came up with this gem. We spent quite a bit of time tinkering with it, and I am especially happy about two major points: first, that the violin tricks are integrated into the emotional context of the various sections, and second, that none of my ideas remain in unfiltered form. For this, the audience and I should be equally grateful.

–Gregory Fulkerson