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[[Samuel Barber]]'s '''Cello Concerto''' in [[A minor]]{{Citation needed|date=October 2014}}<!--The score does not indicate a key, and the first movement is clearly in D minor. Who claims A minor for this concerto?--> ([[opus number|Op]]. 22), completed on 22 November 1945, was the second of his three concertos (the first being his [[Violin Concerto (Barber)|Violin Concerto]] and the third his [[Piano Concerto (Barber)|Piano Concerto]]). Barber was commissioned to write his cello concerto for [[Raya Garbousova]], an expatriate Russian cellist, by [[Serge Koussevitzky]] on behalf of Garbusova and the [[Boston Symphony Orchestra]]. Funds for the commission were supplied, however, by John Nicholas Brown, an amateur cellist and a trustee of the Boston Symphony Orchestra {{harv|Heyman|1994|loc=248}} Koussevitzky later said that he thought the work would be to the 20th century what Brahms' violin concerto was to the 19th century.{{Citequote|date=October 2014}} Barber was still on active duty with the U. S. Army at the time he received the commission, and before beginning work asked Garbousova to play through her repertoire for him so that he could understand her particular performing style and the resources of the instrument {{harv|Heyman|1994|loc=249}}. The concerto is said to have fit her personality perfectly.{{Citation needed|date=October 2014}} Garbousova premiered it with the Boston Symphony Orchestra in Symphony Hall, Boston, on 5 April 1946, followed by New York performances at the Brooklyn Academy of Music on 12 and 13 April {{harv|Heyman|1994|loc=252}}. The concerto won Barber the New York Music Critics' Circle Award in 1947 {{harv|Heyman|1994|loc=257}}. Garbousava refined her interpretation of the concerto until her retirement.{{When|date=October 2014}}{{Citation needed|date=October 2014}}
[[Samuel Barber]]'s '''Cello Concerto''' in [[A minor]]{{Citation needed|date=October 2014}}<!--The score does not indicate a key, and the first movement is clearly in D minor. Who claims A minor for this concerto?--> ([[opus number|Op]]. 22), completed on 22 November 1945, was the second of his three concertos (the first being his [[Violin Concerto (Barber)|Violin Concerto]] and the third his [[Piano Concerto (Barber)|Piano Concerto]]). Barber was commissioned to write his cello concerto for [[Raya Garbousova]], an expatriate Russian cellist, by [[Serge Koussevitzky]] on behalf of Garbusova and the [[Boston Symphony Orchestra]]. Funds for the commission were supplied, however, by John Nicholas Brown, an amateur cellist and a trustee of the Boston Symphony Orchestra {{harv|Heyman|1994|loc=248}}. Koussevitzky later said that he thought the work would be to the 20th century what Brahms' violin concerto was to the 19th century.{{Citequote|date=October 2014}} Barber was still on active duty with the U. S. Army at the time he received the commission, and before beginning work asked Garbousova to play through her repertoire for him so that he could understand her particular performing style and the resources of the instrument {{harv|Heyman|1994|loc=249}}. The concerto is said to have fit her personality perfectly.{{Citation needed|date=October 2014}} Garbousova premiered it with the Boston Symphony Orchestra in Symphony Hall, Boston, on 5 April 1946, followed by New York performances at the Brooklyn Academy of Music on 12 and 13 April {{harv|Heyman|1994|loc=252}}. The concerto won Barber the New York Music Critics' Circle Award in 1947 {{harv|Heyman|1994|loc=257}}. Garbousava refined her interpretation of the concerto until her retirement.{{When|date=October 2014}}{{Citation needed|date=October 2014}}


The work has gradually crept into the repertoire of the cello community, but it has remained on the fringes, largely because of its extreme technical demands. It has recently been championed by a number of young soloists.{{Citation needed|date=October 2014}}
The work has gradually crept into the repertoire of the cello community, but it has remained on the fringes, largely because of its extreme technical demands. It has recently been championed by a number of young soloists.{{Citation needed|date=October 2014}}

Revision as of 23:20, 20 October 2014

Samuel Barber's Cello Concerto in A minor[citation needed] (Op. 22), completed on 22 November 1945, was the second of his three concertos (the first being his Violin Concerto and the third his Piano Concerto). Barber was commissioned to write his cello concerto for Raya Garbousova, an expatriate Russian cellist, by Serge Koussevitzky on behalf of Garbusova and the Boston Symphony Orchestra. Funds for the commission were supplied, however, by John Nicholas Brown, an amateur cellist and a trustee of the Boston Symphony Orchestra (Heyman 1994, 248). Koussevitzky later said that he thought the work would be to the 20th century what Brahms' violin concerto was to the 19th century.[This quote needs a citation] Barber was still on active duty with the U. S. Army at the time he received the commission, and before beginning work asked Garbousova to play through her repertoire for him so that he could understand her particular performing style and the resources of the instrument (Heyman 1994, 249). The concerto is said to have fit her personality perfectly.[citation needed] Garbousova premiered it with the Boston Symphony Orchestra in Symphony Hall, Boston, on 5 April 1946, followed by New York performances at the Brooklyn Academy of Music on 12 and 13 April (Heyman 1994, 252). The concerto won Barber the New York Music Critics' Circle Award in 1947 (Heyman 1994, 257). Garbousava refined her interpretation of the concerto until her retirement.[when?][citation needed]

The work has gradually crept into the repertoire of the cello community, but it has remained on the fringes, largely because of its extreme technical demands. It has recently been championed by a number of young soloists.[citation needed]

The work has three movements:

  1. Allegro moderato
  2. Andante sostenuto
  3. Molto allegro e appassionato

The concerto is scored for 2 flutes, oboe, English horn, 2 clarinets, bass clarinet, 2 bassoons, 2 horns, 3 trumpets, timpani, snare drum, and strings.

References

  • Heyman, Barbara B. 1994. Samuel Barber: The Composer and His Music. New York: Oxford University Press. ISBN 0-19-509058-6.
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