My Concerto for Flute and Orchestra originated from a rising whole tone scale motif popping up in my head on a usual day during my last year in secondary school. Then I used my school hours and free time to draft the entire concerto and orchestrate it. As a result of the use of whole tone scale, the concerto while remainingly mainly tonal contains many atonal excerpts, marking a departure from my earlier style, while retaining pentatonicism at other moments.
The first movement starts with the orchestra proclaiming the rising whole tone scale motif, after which the soloist enters. What follows are alternating excerpts of concertino and tutti, during which the flute variously enters into dialogue, argument or duet with the orchestral instruments. Although at times heavy, the mood is generally playful.
The second movement is dominated by an idyllic motif, on which the main theme, although at times chromatic, is almost free of whole tone scale. This, however, is interrupted by the blatantly whole-tone episode, in which pizzicato strings give the music a mischievous tone. The idyllic passage soon returns, intermingled with brief cadenzas.
The third movement returns to the rising whole tone scale motif with a blast. The main theme is outwardly joyful and active. The episodes feature chamber music texture and often return to the idyll or mischievousness of the second movement.