or Violin and Orchestra, Op. 14: Creating a New ...

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1 Samuel Barber’s Concerto for Violin and Orchestra, Op. 14: Creating a New Arrangement for Flute Nicole Frankel University of Florida Author Note Nicole Frankel, School of Music, College of Fine Arts, University of Florida Dr. Kristen Stoner, School of Music, College of Fine Arts, University of Florida This thesis was prepared for MUS 4905, Projects and Problems in Music In partial fulfillment of the requirements for graduating with High or Highest Honors

Transcript of or Violin and Orchestra, Op. 14: Creating a New ...

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Samuel  Barber’s  Concerto  for Violin and Orchestra, Op. 14:

Creating a New Arrangement for Flute

Nicole Frankel

University of Florida

Author Note

Nicole Frankel, School of Music, College of Fine Arts, University of Florida

Dr. Kristen Stoner, School of Music, College of Fine Arts, University of Florida

This thesis was prepared for MUS 4905, Projects and Problems in Music

In partial fulfillment of the requirements for graduating with High or Highest Honors

BARBER’S  VIOLIN  CONCERTO: ARRANGING FOR FLUTE 2

TABLE OF CONTENTS

Abstract 3

Introduction 3

Methods 6

Results 13

Bibliography 15

Flute Concerto: Score 16

Flute Concerto: Solo Part 40

BARBER’S  VIOLIN  CONCERTO: ARRANGING FOR FLUTE 3

Samuel  Barber’s  Concerto  for Violin and Orchestra, Op. 14: Creating a New Arrangement

for Flute

Abstract

Samuel Barber was one of the most respected American composers of the twentieth

century. His music is tonal and often romantic in style, and his Concerto for Violin and

Orchestra is no exception. Composed in 1939, this piece has become one of the most widely

performed standards of the violin repertoire. The first movement, which is in sonata-allegro

form, is celebrated for its lush character and memorable themes. Such qualities translate well for

performance on the flute. This thesis describes the various methods and creative process

involved  in  arranging  the  first  movement  of  Barber’s  Violin Concerto for flute, as well as the

challenges I encountered along the way and how I met these challenges. I considered issues of

range, technical facility, color, balance, blend, extended techniques, and breathing. For the

score,  I  used  my  arrangement  of  the  solo  part  as  well  as  the  piano  reduction  from  Barber’s  own  

revision. The flute part can be successfully performed with either piano accompaniment or

orchestra. The end result of this project is an idiomatic flute part that is at times both lyrical and

brilliant, bringing new colors and a fresh perspective to a standard work while still maintaining

its original integrity.

Introduction

Samuel Osborne Barber II was born in West Chester, Pennsylvania on March 9, 1910.

He was the only son to Roy and Daisy Barber, who afforded both Samuel and his sister Sara

music lessons from an early age. Samuel Barber began playing piano at six years and was

BARBER’S  VIOLIN  CONCERTO: ARRANGING FOR FLUTE 4

writing his first compositions by the following year. At age nine, he left a note for his mother

proclaiming that he was meant to be a composer:

Dear  Mother:  I  have  written  this  to  tell  you  my  worrying  secret.    Now  don’t  cry  when  you  

read it because it is neither yours nor my fault. I suppose I will have to tell it now

without any nonsense. To begin with I was not meant to be an athlete. I was meant to be

a  composer,  and  will  be  I’m  sure.1

Barber entered the Curtis Institute of Music at age fourteen, by which time he had already

composed pieces for piano, organ, violin, and his first opera.2 He thrived at the Curtis Institute

and his compositional output grew considerably. In 1933, Barber left Curtis. He continued

studies in the U.S. and throughout Europe. By the time Barber received his first major

commission to write the Concerto for Violin and Orchestra, he had already published such

works as the Overture to The School for Scandal, Dover Beach, Music for a Scene from Shelley,

Essay for Orchestra, and, of course, the famed Adagio for Strings, which was premiered by

Arturo Toscanini in 1938.3

The Violin Concerto was commissioned in the spring of 1939 by the wealthy industrialist

Samuel Fels for his adopted son, the violin prodigy Iso Briselli. Barber composed the first two

movements that summer and sent them to Briselli, who was not pleased. Although he thought

them “beautiful,”  Briselli  said  these  movements  were  “too  simple  and  not  brilliant  enough  for  a  

concerto.”4 However, when Barber sent Briselli the third and final movement of the concerto,

the violinist proclaimed that it was too difficult. The controversy over the third movement grew

when Barber asked another violinist, Omar Shumsky, to perform the movement for Fels, proving

1 Barbara Heyman, Samuel Barber: the composer and his music (New York: Oxford University Press,

1992), 7. 2 Heyman, Samuel Barber, 25. 3 Nathan Broder, Samuel Barber (New York: G. Schirmer, 1954), 34. 4 Heyman, Samuel Barber, 192-193.

BARBER’S  VIOLIN  CONCERTO: ARRANGING FOR FLUTE 5

that it was not impossible to play. A compromise was reached when Barber returned half of his

commission and Briselli released his right to the first public performances of the work. The

Concerto was instead premiered in 1941 by Albert Spalding with the Philadelphia orchestra,

under the baton of Eugene Ormandy.5 It has since become a much beloved standard of the violin

repertoire.

Barber won two Pulitzer Prizes in his lifetime and was one of the most celebrated

composers of the 20th century. Despite having composed forty-eight pieces with opus numbers

and  upwards  of  one  hundred  unpublished  works,  though,  Barber’s  writing  for  the  flute  is  

extremely sparse. Therefore, I have arranged the first movement of his Violin Concerto for flute.

I selected this concerto because I found the music to be undeniably beautiful and I believed that

it would translate well to flute, especially the first movement. Barber was a melodist, and the

themes that he used in the first movement of this concerto are very lyrical, traditional in shape,

yet fresh in character. The piece is extremely tonal, oscillating between major and minor modes,

and the melodic structure is governed by this tonality.6 Barber is often regarded as  a  “neo-

Romantic”  composer,  and  this  concerto  is  certainly romantic in style, with moments of both

intimacy and grandeur.

Furthermore, I chose to arrange for flute from a violin piece due to certain similarities

between the instruments. Although the range of the violin is slightly more expansive than that of

the flute (G3 to C8 for the former versus B3 to F7 for the latter)7, the majority of the range is

shared between the instruments. This allowed me to make only subtle changes to the melodic

shaping of the original work, preserving the integrity of the line and the majority of the specific

pitches Barber wrote.

5 Broder, Samuel Barber, 35-36. 6 Broder, Samuel Barber, 47-48. 7 Samuel Adler, The Study of Orchestration (New York: W. W. Norton & Co., 2002), 52.

BARBER’S  VIOLIN  CONCERTO: ARRANGING FOR FLUTE 6

Both the flute and the violin are lead soprano instruments which traditionally play the

main melodic material in both small chamber ensembles and larger groups. They are both

popular solo instruments, as well. The violin and flute are extremely flexible and agile in nature,

capable of both singing out and playing extremely technical passages. Thus, with an enhanced

potential for virtuosic playing, both instruments are popular for performing concertos.

Methods

Barber’s  Concerto for Violin and Orchestra features a moderately-sized accompanying

orchestra, with two each of the flutes, oboes, clarinets, and bassoons, three horns, and three

trumpets in the wind section, a typical string section, plus timpani and piano parts.8 Whereas a

solo violin would have very little trouble being heard over such a group, the flute is not capable

of reaching quite the same volume, especially in the lower limits of its register. This presented

one of the biggest challenges in arranging this work for flute, especially since many of the main

themes are written in a comfortable, warmer, low range. Throughout the arranging process, I

had to constantly adjust dynamic levels, as well as registral placement of the solo part. I also had

to adjust for range, especially when the violin part would have fast ascending flourishes into the

upper extremes of the instrument. Other issues I adjusted for include balance, blend, technical

facility, color, articulation, form, double-stops, and creating points at which to breathe (a matter

which is absolutely necessary for winds but does not need to be taken into account when writing

for strings).

Although the solo flute part was arranged with orchestral accompaniment in mind,

I have included the score for flute and piano in my project (page 16). As a student performer, I

know that there are limited opportunities to perform a concerto with an actual orchestra, and

8 Samuel Barber, Concerto for violin and orchestra, op. 14 (New York: G. Schirmer, 1949), 1.

BARBER’S  VIOLIN  CONCERTO: ARRANGING FOR FLUTE 7

more  often,  flute  concertos  are  instead  performed  with  a  piano  reduction.    I  used  Barber’s  own  

piano reduction from his revised score for violin and piano, making only minor adjustments to

the part for balance. The arranged flute part can therefore be successfully performed either with

the standard orchestral accompaniment or with the piano part, which I have included.

Another critical aspect of the arranging process involved keeping careful documentation

of all the changes I made to the original score. These changes were carried out using the

notation software Sibelius 7 and are detailed chronologically below.

Unlike  many  other  concertos  of  the  time,  Barber’s  Concerto for Violin and Orchestra

opens with solo violin and orchestra playing simultaneously, rather than an orchestral

introduction. The principal theme is stated immediately in the violin. Since this theme occurs in

a relatively low range of the flute, it does not project as well as it would if it were written in a

higher octave. Therefore, I have written in an optional 8va over the first twelve measures of the

flute part. This gives the performer the option to play the opening theme in either the original

octave or in a more brilliant register, depending on the circumstances. For instance, the high

octave would most likely be necessary for performance with an orchestra, whereas either version

will work well with piano accompaniment. The notion of raising material up an octave is

standard performance practice when playing the opening of the Khachaturian Violin Concerto on

flute; although the published version of this arrangement features the opening material in the

original register, most flutists opt to perform the first page an octave higher than written. For my

arrangement  of  Barber’s  Concerto, I have chosen to include this note in the score. I reverted

back to the original octave on beat four of the twelfth measure because the written octave

displacement  on  the  “E”  provides  a  subtle  transition. The 8va marking cannot be continued

BARBER’S  VIOLIN  CONCERTO: ARRANGING FOR FLUTE 8

beyond this point because the melodic line builds higher and higher, until mm. 25-27 would be

beyond of the practical range of the flute.

In the fifth measure, I removed the slur into the upbeat of beat three to give the flutist a

chance to breathe. This also separates the pick-up notes and matches the articulation pattern of

the previous measure.

Measure 18 goes beyond the extremes of the low range on the flute. However, since the

accompaniment is resting during this measure, I had slightly more freedom to alter the line. I

kept the leaps of a 7th in the pick-ups and on the first beat in order to preserve the feeling of the

original shape, but then shifted the octaves every other  note  beginning  with  the  “D”  on beat two

for improved facility.

I  again  shifted  a  slur  in  measure  24  until  after  the  “E”  so  that  the  flutist  can  breathe  before  

the long, technically challenging run into rehearsal number two. This actually matches the

articulation written when the same material occurs in a different key later on in the piece, going

into rehearsal fourteen. Also, on the downbeat of rehearsal two, I changed the dynamic marking

from pp to p. This is a much more realistic dynamic for the flute, since it is more difficult to

play a stable, sustained high note on flute than it is on violin.

The material occurring in mm. 50-60 can be thought of as a transitional passage leading

to the development. I increased the dynamic of this section from p to mf so it can be better

heard.    Much  of  this  section’s  articulations  are  written  as  a  slur  over  a  staccato.    This  holds  a  

different meaning for strings and winds. A violinist would play a slurred staccato as a separation

of a series of short notes on one bow,9 while a flutist would interpret this marking as light

tonguing with little to no separation. To remedy this inconsistency, I changed the articulation on

beat four of measures 50 and 51 to a slur-two tongue-two pattern, changed the slurred staccatos

9 Adler, Study of Orchestration, 24.

BARBER’S  VIOLIN  CONCERTO: ARRANGING FOR FLUTE 9

in measures 52 and 53 to regular staccato markings, and interpreted the rest of this section as

tongued rather than slurred. This creates more definition between the notes and minimizes

hearing small imperfections between them. The performer can also sneak breaths more easily

when  playing  in  a  shorter  style.    The  staccatos  in  Barber’s  piano  part  suggest  the  same  

articulation, as well as the staccatos in the accompanying clarinet part in the orchestral score. I

applied these same articulations at rehearsal number sixteen, as well, when the same material

appears up a third in the violin and piano parts.

One additional alteration that I made to this section of music is that on the last sixteenth

notes of beat one of m. 56 and beat four of m. 57, I bracketed two noteheads in order to provide

the performer with an optional place to breathe. Again, I followed this pattern with the similar

material at rehearsal sixteen, bracketing the corresponding noteheads in mm. 181 and 182.

In measures 58-59, there is an ascending flourish that leads up to an E7. Although this

note is possible on flute, it is in the extreme highest range of the instrument and is not at all

practical in this context. Therefore, instead of stepwise motion leading up to this note, as

written, I reversed the direction of the line for the last three notes of m. 59, leading down to the

“E”  one  octave  lower.    Essentially,  the  pitches  changed  from  “A,  B,  C,  D,  E”  to  “A,  B,  G,  F#,  

E.” This note is still high enough that it should be easily heard over the orchestra, but since this

is such a climactic moment in the piece (the beginning of the development section), I increased

the dynamic on this note from ff to fff.

There is a very long, sustained high “Bb”  that  occurs  in  the  solo  voice  in  mm.  81-85.

However, the violin part leaves no place for a wind player to breathe prior to this held note.

Therefore, I changed the articulation leading up to this note and added a slight ritard so the flutist

can stock up on air before sustaining the pitch. Since the accompaniment is extremely sparse at

BARBER’S  VIOLIN  CONCERTO: ARRANGING FOR FLUTE 10

this point, relaxing the tempo somewhat should have little to no effect on the pianist or the

orchestra.

In m. 94, I again shifted a slur to beat two so the flutist can breathe. Then, I raised beat

four of m. 104 and beat one of m. 105 up one octave, since these notes were previously below

the attainable range of the instrument. I applied the same changes to mm. 110 and 111. I also

raised  the  “A”  that occurs on the downbeat of m. 122 one octave so it is playable.

The first double-stop that occurs in this movement takes place in m. 118. In general, I

dealt with multiphonics wherever they occurred in the piece by selecting the top note of the

double-stop for the flute part, with only a few exceptions. Therefore, in m. 118, I used the higher

octave  “A”  for  the  flute  part,  and  changed  the  grace note leading into this downbeat to the pitch

that was previously the lower note of the double-stop, thus creating a similar effect. Choosing

the  higher  octave  “A”  at  this  moment  better  follows  the  direction  of  the  musical  line, as well,

which is leading upward into the home key of G major.

Again, I used the top notes of the double-stops in m. 124 for the flute part, which occur

on every note of this measure. This creates more idiomatic leaps for flute while still preserving

the octave and octave plus one-fourth relationships. The downbeat of the next measure marks a

huge arrival point – the recapitulation, now solidly back in G major and Tempo I. However, I

chose the lower note of this double stop rather than the upper note to emphasize the resolution

back to tonic. I also raised this pitch two octaves so it will be heard over the orchestra and/or

piano.

In m. 136, I raised the first eighth note of beat four one octave and increased the dynamic

in the flute part from p to mp. At this point in the work, the flute has been resting for ten

BARBER’S  VIOLIN  CONCERTO: ARRANGING FOR FLUTE 11

measures, and both of these pick-up notes need to be heard. This creates a more solid solo

entrance.

In m. 144, I changed the septuplet on beat four into four sixteenth notes. The first three

beats of this bar can be seen as two independent voices due to the alternating wide leaps in the

line. Although this compound line continues into the downbeat of rehearsal number 13, I

removed the lower voice on the fourth beat of m. 144 because it goes out of range and is

impractically difficult for the flute.

In mm. 151-152, there is a figure very similar to that of mm. 25-26. However, whereas

the earlier passage is playable on the flute without any changes, this figure is up a third and

therefore extends beyond the practical range of the flute at the top of the run. To accommodate

for this issue, I lowered the arrival note one octave, giving the flutist more control and making

Barber’s  written  dynamic  more  achievable  at  that  point.    To  lead  into  the  lower  “D,”  I  continued  

the pattern of alternating between steps and leaps of a third to reach down to the note instead of

upwards  (“Bb,  F,  G,  Eb,  D”  instead  of  “Bb,  D,  Eb,  C,  D”).

A short cadenza occurs in m. 190, just prior to the coda. Again, I elected to use all of the

top pitches in the double stops. This helps keep consistency throughout the piece, as well as

matching the pattern  of  pitches  that  occurs  just  before  the  double  stops,  or  “Db,  C,  Ab,  G,  Bb”  

descending  in  octaves.    I  then  raised  the  fermata  “G” in the middle of this cadenza one octave;

otherwise it is beneath the possible range of the flute.

From mm. 198-203, I removed the slur markings over the two-measure phrases. The

smaller slurs that group sets of two consecutive notes together indicate the re-articulation of the

BARBER’S  VIOLIN  CONCERTO: ARRANGING FOR FLUTE 12

repeated notes. For violin, these long slurred passages are legato markings, meaning that all the

notes are meant to be played in one bow direction.10 Obviously, this does not apply to flute.

The whole final section of the movement, from m.  197  until  the  end,  is  in  the  flute’s  

lowest register. In fact, the movement ends on a sustained B3, the lowest note possible on the

flute, and only if the performer has a B-footjoint  extension  on  their  instrument.    The  low  “Bs”  

would not be heard over the piano, let alone an orchestra, thus rendering the ending less solid.

Therefore, I adjusted this whole section up one octave. I aimed to maintain the integrity of the

ending by shifting the entire section into a higher register, rather than changing back at some

point and altering the shape of the melodic line. This registral change will also affect the color in

a positive way, as the melody at rehearsal number eighteen (the secondary theme) will sound

brighter, livelier, and have a more shimmering quality than it would have in the low octave. This

is especially important since, although the secondary theme has appeared frequently in the other

orchestral instruments (or the piano) throughout the work, this is the first and only time it is

heard in the solo voice. Additional support for this alteration lies in the fact that when the

accompanying orchestral flute plays this theme, it is written in this same higher register in the

score.

Finally, in the last three measures of this movement, the final moving line is played

by  the  orchestral  flute.    In  Barber’s  revised  score,  he  places  this  triplet  figure  in  the piano part.

However, since I arranged the solo violin part for flute, I found it only fitting that the final flute

line be placed in the solo voice instead, so that the same color is achieved. Therefore, instead of

continuing  the  held  “B” until the very end, I changed the whole note in m. 214 to a half note,

added an eighth rest, and then inserted the exact orchestral excerpt from the accompanying flute

part into the solo line. To adjust for this in the piano reduction, I simply extended the G major

10 Adler, Study of Orchestration, 18.

BARBER’S  VIOLIN  CONCERTO: ARRANGING FOR FLUTE 13

triad that previously occupied the first two beats of the bar through the whole measure, which is

in accordance with the final harmony occurring in the orchestral score.

Results

Through this process, I was able to arrange one of the most standard twentieth-century

violin concertos,  Samuel  Barber’s  Concerto for Violin and Orchestra, for my own instrument,

the  flute.    As  a  concerto  that  “is  likely  to  be  chosen  by  a  performer  who  wishes to display the

idiomatic lyrical attributes of the violin rather than to dazzle the audience with virtuoso

brilliance,”11 this piece was a practical choice for arrangement to flute, an instrument which

showcases these very elements. The work translated well to the flute in that the instrument

allows for such a wide range of tone colors in performance that the lyrical, wistful themes used

throughout the first movement come alive. The flute arrangement is idiomatic and rather

charming as a whole.

When I began the project, I conjectured that the most challenging aspect would be

figuring out what material to alter and how to alter it in a way that was inoffensive, still

preserving the integrity of what Barber originally wrote. Although I was correct in assuming the

difficulty of that aspect, it was not the most demanding part of the process. Rather, inputting the

music into notation software was extremely meticulous, tedious work. I chose Sibelius 7 for this

task in that it is generally more user-friendly than the popular Finale software. In spite of this

fact, though, it was still quite an undertaking to input and alter 216 measures of both flute and

piano music. I have become much more familiar with the software as a result.

As a flutist myself, I was able to play through my arrangement of the Violin Concerto as I

worked on it, and I found this to be a necessary facet of my project. I was able to check the flute

11 Heyman, Samuel Barber, 199.

BARBER’S  VIOLIN  CONCERTO: ARRANGING FOR FLUTE 14

part as I went along in order to ensure its fluidity and that it captured the same lush character

throughout as the violin. Often, my pre-conception of what I thought would be idiomatic for the

flute would change after I played it, and my understanding and respect for composers, especially

those who write for other instruments, has since grown.

Due to the rights held by the Barber Foundation, my arrangement is not publishable at

this time. However, I will perform this piece on my senior recital at the end of the semester, and

it is my sincerest hope that it will become a staple for future University of Florida Flute Studio

use.

BARBER’S  VIOLIN  CONCERTO: ARRANGING FOR FLUTE 15

Bibliography

Adler, Samuel. 2002. The Study of Orchestration. New York: W. W. Norton & Company, Inc. Barber, Samuel. 1949. Concerto for violin and orchestra, op. 14. New York: G. Schirmer. Barber, Samuel. 1949. Concerto for violin and orchestra, op. 14: revised version. New York: G.

Schirmer. Barber, Samuel. Violin Concerto. Elmar Oliveira, Saint Louis Symphony. Conducted by Leonard

Slatkin. EMI CDC 47850, compact disc. Broder, Nathan. 1954. Samuel Barber. New York: G. Schirmer. Heyman, Barbara B. 1992. Samuel Barber: the composer and his music. New York: Oxford

University Press. Peterlongo, Paolo. 1979. The violin: its physical and acoustic principles. New York: Taplinger

Pub. Co.

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