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Thematicism in Gerhard's Concerto for Orchestra

The Concerto for Orchestra has probably been the most performed of Roberto Gerhard's works since its triumphant première at the 1965 Cheltenham Festival. Yet it is one of the most difficult for the listener to come to terms with, owing in part to its apparent ‘athematicism’. Any thematic aspect seems at first totally subordinated to the surface play of extreme textural and colouristic invention.