The style of this concerto was considered anachronistic in its day—shamefully behind the curve. Although it incorporates some of the techniques of Arnold Schoenberg's twelve-tone system, it largely discards the underlying principles of that system and retains tonality as its central organizing principle. However, having ridden out the criticisms of zealous post-war modernists in its day, Martin's concerto now seems ahead of its time, anticipating the late- twentieth-century synthesis of progressive and traditional techniques that marks the work of so many composers. It was written for Joseph Szigeti, who premiered it in 1952 with Ernest Ansermet conducting the Orchestra de la Suisse Romande.

The concerto calls for an orchestra of winds in pairs (no tuba and just one trombone, with one of the flutists taking piccolo), piano, harp, timpani, and the usual strings. It is a half-hour work in the standard three movements.

The first movement, Allegro tranquillo, begins in Classical fashion with an exposition for the orchestra, reserving the soloist's entrance for a second exposition. The opening tranquility is short-lived, but the rocking motive that starts the work provides a key to later development. There is one formal cadenza, completely composed.

The second movement, Andante molto moderato, is a direct and intimate conversation with the violin. Melodic phrases are parlando (i.e., suggestive of speech) rather than singing. It is an impassioned speech that attains two high points.

The finale, Presto, not only has the expected athleticism on the part of the soloist, but is bright, brave, and lively.

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