Land of the Dead is a concertante work for violin and orchestra in seven interconnected episodes presenting a continuous and uninterrupted music journey. The translucent tonal introduction on the harp and upper strings gradually becomes clouded by speckled dissonances and a turbulent bass, ushering in the soloist with brisk glissandi shrills. The orchestra and the solo violin appear to be in conflict with one another as the soloist struggles to dislodge itself from the rest of the instruments and the orchestra keeps pulling it back. Half way through the first movement a jagged rhythmic passage on the soloist enhanced by the piccolo flute and xylophone leads to the first solo, establishing the violin as the protagonist of the concerto. In the second section, the soloist and orchestra are locked in a conflicted musical dialogue. The orchestra yields to the role of the soloist but bucks and strikes back with chaotic rhythmic bolts. A soft, yet turbulent section transitions between the second and third section. In this bridge the composer presents the palette of his materials disguised under a diffused dynamic, before the true nature of the music is revealed. Half way through the 3rd movement the violinist unleashes an unruly solo featuring piercing fast melodic contours and rhythmic shards. The up-beat character of the 3rd section composition stems from a syncopated bass pulse (3+3+3+3+2+2) that is evident throughout the movement. This obsessive bass line is often challenged by the soloist with irregular material in the high register which creates a contrast to the ostinato. Another important character of this movement is the percussive clusters in the lower register of the orchestra which jolt the music erratically. In the 4th section the orchestration is reduced to the bass instruments, pounding away as the solo violin hovers above the bass pulse. In the 5th section, the soloist and orchestra engage in a tense musical exchange. The orchestra concedes to the soloist’s lead, yet resists and retaliates with bursts of turbulent and unpredictable rhythms. The 6th section is an accompanied cadenza showcasing the soloist’s virtuosity leading to a contrasting soft and contemplative final coda section. Land of the Dead is composed for and dedicated to Austrian soloist Daniel Auner.