Samuel Barber / Capricorn Concerto, Op. 21 (Hanson)

Samuel Barber (1910-1981)
Capricorn Concerto, Op. 21 (1944)
00:00 - Allegro ma non troppo
07:12 - Allegretto
10:09 - Allegro con brio
Flute: Joseph Mariano
Oboe: Robert Sprenkle
Trumpet: Sidney Mear
Performed by Howard Hanson and the Eastman-Rochester Orchestra. Recorded by Mercury in 1959.
"The Capricorn Concerto, named after the house in Mount Kisco, New York, in which Barber lived for several years, was composed in 1944 and first performed on October 8 of that year by the Saidenberg Little Symphony Orchestra. It is a study in rhythm and timbre and design. Each of the solo instruments behaves in thoroughly characteristic ways. The flute soars in song, leaps nimbly about, emits liquescent, throaty trills in its low and middle registers. The oboe, too, sings expressively, and on occasion makes pointed, poignant statements. In the first movement the trumpet is a cantabile instrument, practically another woodwind; in the second, muted and staccato, it reveals a kind of pert impertinence peculiar to it; in the finale it rings out in its brassiest guise.
The first movement, of an unusual structure, falls into three main sections: a short introduction in the strings (Allegro ma non troppo), characterized by wide leaps, irregular rhythms, and offbeat accents; a longer section (Andante con moto) based on an expressive, supple melody first presented by each of the solo instruments in turn; and a constantly driving Allegro, in which material from the introduction is developed. All three sections are related in more subtle ways, for the whole movement is derived from the introduction. At the very end there is a return of the Andante melody in the trumpet and a final, frenetic reminiscence of the introduction.
In the scherzo that constitutes the second movement (Allegretto) witty use is made of the special qualities of the solo instruments. Indeed, instead of being conceived first and then allotted to the different instruments, the thematic material seems to be born out of the very idiosyncrasies of the instruments. A short but poetic interlude replaces the conventional trio.
The finale (Allegro con brio) is a rondo on a theme with a carnival-like spirit, set forth at once by the trumpet. Most of the episodes are developments of this theme." - Nathan Broder

[@MsEbenoit]

I've decided to listen to ALL of Barber's music on youtube - so many gems! Vanessa, Sym No. 2, Cello Concerto, Piano Concerto, Violin Concerto, School for Scandal Overture, Songs, the Lovers, Chamber Music, wow, so many compositions. The guy was a genius, one of America's greatest composers!

[@larryshackley8074]

All three soloists were still teaching at Eastman when I attended there in 1973-75. A few of my friends were students of Sid Mear, and had plenty of stories to tell about him!

[@johnnash7769]

This is the recording I first heard, by chance, having borrowed the record from our (then) wonderful public library in London. My introduction to "classical" music was extremely haphazard and unguided. Barber's Capricorn was the first music to open my ears to purely musical imagination - a delight in the.play of instrumental timbre and piquancy and rhythmic invention - without emotional baggage or association. It still beats all other recordings of the piece. Thank you for posting..

[@mendhammillholidaycottages4259]

Thanks for the erudite programme notes. Very interesting useful and enlightening 🤗🌈

[@MuseDuCafe]

Thank you, especially for this particular recording of the only 'neoclassical' piece by Barber. It is one I've always liked and admired, and thinking it 'that good,' wish it were more widely known. Fine piece, 'definitive' archival performance / recording. Great stuff.

[@romualdomateosramos1371]

Hermosa composición,plena de piruetas y contrastes lo que propicia sugerencias emocionales diversas.

[@GoldandAppel]

I thought house of Capricorn as in astrological.