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Samuel Barber

Publisher: G. Schirmer

Concerto for Violin (1939)
Publisher
G Schirmer Inc
Category
Soloist(s) and Orchestra
Year Composed
1939
Duration
22 Minutes
Solo Instrument(s)
Violin
Alternate Orchestration
Violin; piano reduction


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Programme Note
Samuel Barber Concerto for Violin (1939)
  • Notes on the New Edition:
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    Commentary by David Flachs, Director of Production, G. Schirmer, Inc.

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Composer Note:

The first movement — Allegro molto moderato — begins with a lyrical first subject announced at once by the solo violin, without any orchestral introduction. The movement as a whole has, perhaps, more the character of sonata than concerto form. The second movement — Andante sostenuto — is introduced by an extended oboe solo. The violin enters with a contrasting and rhapsodic theme, after which it repeats the oboe melody of the beginning. The last movement, a perpetual motion, exploits the more brilliant and virtuoso characteristics of the violin.

— Samuel Barber



  • Ensemble
    Royal Scottish National Orchestra
    Soloist(s)
    James Buswell, violin
    Conductor
    Marin Alsop
    Naxos:
  • G. Schirmer:
  • Ensemble
    New York Philharmonic Orchestra / Cleveland Orchestra / Philadelphia Orchestra
    Soloist(s)
    Isaac Stern, violin; John Browning, piano
    Conductor
    Leonard Bernstein / George Szell / Eugene Ormandy / Thomas Schippers
    Sony Essential Classics:
  • Ensemble
    Brno Philharmonic Orchestra
    Music Sales :
  • Ensemble
    Philharmonia Orchestra
    Conductor
    Steuart Bedford
    Regis:
  • Ensemble
    London Symphony Orchestra
    Conductor
    André Previn
    Deutsche Grammophon:
Performances
Date
Title
Reviews
...when you hear the piece played with such finesse as it was here, you appreciate that Barber's generously proportioned lyrical themes possess a subtlety and suppleness that take on a particular poignancy when treated with the sort of innate sensitivity that Ehnes's playing radiates. More than that, Alsop was alert to the piquancy fo orchestral texture that lends the score its occassional tang, be it in lemony woodwind or brass colouring, or in the nicely bracing astringency of the piano. While melody is at the core of the concerto, Alsop's arresting build-ups of dissonance at the climaxes and Ehnes's sparkling virtuosity in the finale showed the concerto's expressive facets in compelling breadth.
Geoffrey Norris, The Telegraph,7/26/2007
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