Concert Recapitulation

This performance of the American University Symphonic Orchestra took place in the Abramson Family Recital Hall on Friday evening, the 2 nd of March, at 8 p.m. Some of the pieces played included "Parto, Parto," from the opera La clemenza di Tito, by Wolfgang Amadeus Mozart; "Va! Laisse couler mes larmes," from Werther by Jules Massenet; Symphony No. 5 in E Minor, Op. 64, by Piotr Ilyich Tchaikovsky; and Concerto for Violin and Orchestra, Op. 14, Movement No. 1, Allegro, by Samuel Barber. The piece I favored most and will be examining is Barber's Movement No. 1.

Barber is originally from Pennsylvania, and was born into a well-to-do family. For this reason, his parents were able to afford to send him to the Curtis Institute of Music in Philadelphia, which helped stimulate and develop his natural talents in voice and composition. In shaping Barber’s musicological ideals, three main influences of the time had a clear impact on his music. These were “the character of his formal education, his intellectual development of travels to Europe, and the personal guidance he received from his uncle, composer Sidney Homer.”[1]
I had truly mixed emotions when I listened to this piece for the first time, which was on the night of the concert. The best word I can think of to describe this movement is “mysterious,” for the mood of the piece jumps around between highs and lows that illustrate intricacy, and hence, true mastery of music. The piece started out calm and soothing, as if something I would expect to hear on a warm, spring afternoon. However, not more than 45 seconds into the piece, a few minor chords and scales were played by the lead violinist, that seemed to instantly transform the piece into a chase of emotions spiraling up and down around a central theme. This theme, I believe, was an underlying joy of some kind, which was revealed about 2 and a half minutes into the piece, for the first time. An intricate scale was played by the lead violinist, which completely flattered me. It felt like the epiphany of the piece, and it made me want jump in the air, with the biggest smile on my face. I definitely felt my muscles tense up as the scale climbed higher and higher, and I was just instantly overcome with a great sense of appreciation for everything that is music. I felt in that moment that I had just witnessed everything that the Katzen Arts Center truly stands for. Following this, a complicated arrangement of notes, which seemed like a massive confusion of thundering noise, succeeded the epiphany I describe above. During this time, I was able to relax and collect myself, as I tried to recapitulate the events that had just taken place.
I could not help but feel as though I was hearing a story being told through the notes the entire time this juxtaposition was ringing through my ears. Somehow, I related it to the process of two people getting married. At first, it seems as though everything is great; joy is abound as plans are made. But before long, as ‘the date’ comes nearer, hesitation arises, and fear of commitment ensues. Panic and alarm present themselves, however ultimately the two stick it through, and they are wed. My previous description of the piece falls in line with this assessment, in that first there was happiness, then fear for a little while, and notes (emotions) began to spiral up and down. In the end though, what resulted is the epiphany that I felt, denoted by an exciting crescendo, which translated into the wedding. Lastly, a soothing, quiet melody came in to end the piece.

What made this piece so exciting to hear were the various melodies that were played, and the constantly changing tempo. Elements of rhythm, such as accents, were played variously throughout the piece. When the piece felt sad, the rhythm was slow, and many minor and major notes were played. Yet, when the cheerful spring time feeling emerged, the tempo was slightly faster, and even yet, when the epiphany resulted, the lead violinist seemed to push the tempo of the entire orchestra even faster.

Yet another element of music, harmony, was also especially prevalent. The cellos and other string instruments seemed to always be playing relatively low melodies, while the lead violinist would play the higher notes in contrast. In this way, it was much easier to hear the violinist, and the simultaneous pitches created a very fancy, yet flowing harmony that was relaxing to take in. During the especially loud sections of the piece, the timpani would play thundering stretches of unpitched sound that really added something to the overall feeling of excitement that I absorbed during the playing of Barber’s piece. When Barber was composing this piece, “he received some criticism from his intended soloist, Iso Briselli, that the piece was too simple. Barber finished the piece, and then Briselli complained that it was too difficult to play! Barber became famous the year before with his Adagio for Strings (1936),”[2] so I don’t believe he was trying to prove anything with this new movement, but I do think he tried to flaunt his talent with this piece. Regardless of Barber’s intentions, this piece is both sophisticated and simple, and carries a simple message that truly resounded through the Abramson Family Recital Hall. I responded to it physically and emotionally, and later cognitively as I tried to make sense of the point that Barber was trying to convey when he wrote this piece almost 70 years ago. It incorporates many of the most crucial elements of music, making this piece a noteworthy example of what a great composition is, as it integrates the most essential principles and ideals that we have learned in Understanding Music.
[1] Barbara B. Heyman, Samuel Barber: The Composer and His Music (New York: Oxford University Press, 1992), 4-5.
[2] London Shostakovich Orchestra, “Concert at St. Cyprian’s Church, Glentworth Street, London NW1”; available from http://www.shostakovich.com/may2001.html; Internet; accessed 8 March 2007.





[1] Barbara B. Heyman, Samuel Barber: The Composer and His Music (New York: Oxford University Press, 1992), 4-5.
[2] London Shostakovich Orchestra, “Concert at St. Cyprian’s Church, Glentworth Street, London NW1”; available from http://www.shostakovich.com/may2001.html; Internet; accessed 8 March 2007.