Adaeio for StriDes;
Analysis for Interpretation and Rehearsal Preparation
An Honors Project (Honors 499)
by
Matthew Tipton
in partial fulfillment of the requirements
of the Honors College curriculum.
Project Supervisor
Dr. James Austin
Ball State University
Muncie, Indiana
1 May 1992
Date of Graduation:
2 May 1992
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When attempting to interpret any composition, it is very helpful to understand the
circumstances surrounding its origin. A good interpretation is sensitive to the overall intent of the
work as well as the individual moments of tension and release that help to convey the mood.
Therefore, any information about the composer or his motivation for writing the piece will be of
assistance.
Adagio for Strings by Samuel Barber (1910 - 1981) was originally
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the second movement J Quartet in B minor, op. 11. It was written in the late
summer/early fall of 1936 and the Pro Arts String Quartet premiered the
work in December of the same year. Early in 1937, however, Barber
adapted the slow part of the second movement, "Molto adagio," for string
orchestra. The" Adagio" has ever since overshadowed its parent
composition and has become, perhaps, Barber's best known work. It too is
marked "Molto adagio" and remains opus 11.
The string quartet, while a lovely setting for the "Adagio," limited its
potential. Once set for a full string ensemble, the "Adagio" was able to take
on a life of its own. and should not necessarily reflect its
origin~
The
"Adagio" is an adaption, not merely a transcription. Often, when a work
originally written for one instrument or ensemble is being played by
another instrument or ensemble, the conductor/performer may choose to
use techniques that mimic the composer's original medium. For instance, a
Bach prelude and fugue transcribed for winds may use dynamics and
phrasing similar to an organ. This process of interpretation does not apply,
however, to the "Adagio."
3
Phrasing is a good example. The slow tempo that characterizes most
interpretations of the" Adagio" simply would not be possible with a
quartet because bow changes in the middle of the notes would be obvious.
Similarly,ryhe potential of a small ensemble to create dynamic contrast
differs from that of a large ensemble. While a quartet is capable of much
softer dynamics, a large ensemble playing with great sensitivity can
achieve a very effective pianissimo that should not be underestimated. The
large ensemble, of course, lends itself to the strong dynamics - especially
those used in the climax of the piece.
Cbrono)o&ical Analysis
This analysis will address several aspects of the composition that mayefi~
,------- rehearsal
techniques as well as interpretation. Specific points of discussion will include:
Player problems. These are places that are especially demanding of the players. By
recognizing these problems in advance, it may be possible to minimize the difficulty.
Conductor problems. Similar to the player problems, these are areas that should be
identified and practiced prior to rehearsing the ensemble. Unresolved conductor problems often
become player problems.
Tension and release. Several factors, including but not limited to harmonic structure,
tempo, rhythm and range, contribute to sections of tension and release. These sections should be
recognized in advance so that they may be capitalized upon. The overall effect of the piece is a
compilation of these areas. The factors creating the tension or release will be identified in the
analysis.
Major musical moments. These are specific points that especially important to the
advancement of the mood of the piece. The factors that create a particular major musical moment
will be identified in the analysis.
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4
The first player problem that should be addressed is the key
signature. The key signature of five flats is used throughout. Younger or
less experienced players should have prior instruction that properly
prepares them for this key. Scales and exercises in D-flat major as well as
B-flat minor are advised. "Adagio" is in the key of B-flat minor, though at
no point is the tonality firmly established. Because this inherently means
there are a lot of accidentals, this piece would not be a good introductory
piece to the five ...flat key signature.
The 4/2 time signature is a conductor problem that should be
discussed with the ensemble as well. Where to, or not to subdivide should
be considered carefully. At times it seems natural to subdivide, at other
times impossible. Individual places for consideration will be pointed out. It
should also be noted that when a slower tempo is chosen, it is more taxing
on the less experienced musician as it places more responsibility on the
player to subdivide internally and bow carefully.
This piece requires clear communication between conductor and
performer. It is usually the player who is reprimanded for failing to
maintain eye-contact. If the player looks up often but rarely finds the
conductor looking back, very little communication will occur - even if the
conducting gestures are very clear. The constant entrances and exits of
sections that occur during phrases make this aspect of good communication
imperative. Memorization of the score is advisable when ever possible.
5
The unaccompanied first violins enter on the key center, B-flat. On
beat three, the rest of the sections enter as cued by the conductor. This
entrance turns the key center into the fifth of a minor seventh chord built
on the fourth scale degree. There is a brief tension - release pattern as the
ensemble enters and resolves the initial chord to a major five chord that is
sustained. The violins' B -flat now becomes a four-three suspension and
serves to sustain tension as well since this begins the churning plea that
Barber uses throughout the piece.
When the ensemble first speaks on the third beat, it is an intense,
reassuring response to the violins that creates a texture change. Though
stylistically very different, this bares some resemblance to the call and
response of the Negro spiritual. This pleading reinforcement constitutes a
major musical moment.
The violin line continues in an ascending sequence filled with nonharmonic tones. This serves to gradually heighten the tension and keeps
the original resolution of the ensemble from being mistaken as resignation.
Finally, the chord changes to a major seventh chord built on the sixth
degree and resolves inward to a major seven chord giving a sighing effect
to the plea.
In the fourth measure, a single 5/2 measure, the first violins begin a
similar solo statement - this time on the fourth beat. The ensemble then
replies on the fifth beat and there is another major musical moment. The
6
firsts begin the theme on a C this time, however, and that subsequently
becomes the dominant seventh of a major three seven chord in the first
inversion. This resolves inward to a major six chord - a secondary
dominant/tonic relationship.
The theme resumes, although the sequence this time is descending.
This does not, however, serve to release the tension, partly because the
ensemble changes to a minor four seven chord that also moves downward.
As the phrase comes to a close, tension is released at least to a point of
equilibrium as the chord resolves inward to a major five chord.
Measure eight is very similar to the beginning. The emotional tension
and release patterns are the same, but perhaps at a relatively lower
degree. The ensemble entrance is no longer a major musical moment as it
is now expected by the listener.
In measure eleven there is a slight change from the original and in
measure twelve there is a complete departure from the original that, with
the help of a crescendo, becomes a major musical moment on the last beat
of the measure as the first violins climax on a high C-flat. The first change
occurs as the first violins jump a trijtone to the minor seventh making a
dominant seventh built on the seventh degree in measure eleven. The
tension then builds more as the chord first becomes a/minor five seved in
the first inversion and then changes to half-diminished. The careening
theme is now picked up by the violas.
7
The second violins drop out at measure twelve and need to be cued
back in on the third beat of the fourteenth measure. Measure fifteen is a
6/2 measure and if is to be subdivided, works best as four groups of three
quarter-notes. The seconds and violas must, however, be very careful of
their cut-off and re-entry as this method of subdivision caters to the firsts
with the theme.
In measure sixteen, the violas recover the theme and carry it to
measure nineteen. There is a tremendous release of tension as the
ensemble lands on a solid tonic chord. This starts a measure-long major
musical moment as the violas, on the third beat, lead of the pleading theme
for the first time. E-flat is the starting point of the theme this time,
however, the following chord structure is the same as the beginning. The
other sections respond accordingly - except the basses who are, for the
moment, tacet.
The violas continue, increasing the tension, for three measures. In
measure twenty-two, the firsts take over and end the phrase in measure
twenty-three. It may be advisable to subdivide the fourth beat of measure
twenty-three so as to cue the sustaining firsts as they resume the theme.
/,;--,
Measure twenty-six is similar to measure fiftee~may be
subdivided similarly. This caters to the violas now, however, and the. first
may have a player problem similar to the violas previously.
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any event,
the firsts should receive a cue on the and of the fourth beat. From here, the
8
tension gradually relaxes with the descending lines until release at
measure twenty-eight on B-flat major.
The cellos, the lowest voice in the absence of the basses, begin the
theme on B-flat. The chords and theme, though completely re-voiced, are
exactly as they were in the beginning. The cellos, starting in measure
twenty-eight are playing in tenor clef and starting in measure thirty-nine,
treble clef. This may be a player problem for inexperienced players.
However, this piece would be an excellent introduction to clefs as it uses
mostly diatonic motion.
In measure thirty-one, a 5/2 measure, the phrase ends on beat two
for the violas, beat three for the cellos and beat four for the seconds. The
cellos resume on beat four and the violas and seconds on beat five. This
creates a minor conductor problem. Subdivision is not recommended. The
less movement the better here as there is actually very little movement in
the music. It is more important, in this instance, to be aware of motions
that may suppress the players than to find a way to cut-off or cue. It is
advisable to cue in the firsts, however, in measure thirty-two.
The re-voiced repeat of the beginning continues throughout this
section and the tension release pattern is also repeated. This time, over
measure thirty-six, Barber actually wrote out ({with increasing intensity."
This foreshadows the impending climax and departure from the original.
The tension should not necessarily be higher than the beginning at this
9
point. Barber's marking is simply a warning that this time the tension is
going to get higher and it is going to take longer to get there.
Further departure from the original occurs in measures forty-two
and forty-three where there is a 3/2 measure following a 4/2 rather than
a single 6/2 measure. The 3/2 measure should not be sub-divided.
In measure forty-four the violas start playing in treble clef. This will
be a player problem for most. The seconds also are asked to remain on the
G string at this point, forcing them into very high positions to accommodate
notes more than an octave above the G string's fundamental.
By measure forty-eight all sections (except the tacet basses) are
playing in a foreign clef and/or an extremely high register. In measure
fifty, the piece climaxes for three-and-a-half measures ... through
homophonic chord changes, in an extremely high register and at a
fortissimo dynamic. In measure fifty-three, the unison cut-off followed by
extended silence (held half-rest) creates a major musical moment.
When the ensemble finally re-enters, it projects an entirely different
mood. The basses now return and all sections are in their natural clef. The
dynamic is pianissimo and the register is comfortable for all. It is a
whispered restatement of the previously wailed plea creating another
major musical moment. This is the only point at which the piece conveys
relaxation. In fact, at this point there is resignation.
Measure fifty-seven begins with silence following a cadence on the
10
dominant in measure fifty-six. This leaves expectation in the air as the
sound resumes. It is the firsts and violas in octaves that break the silence
with the familiar plea on the familiar B -flat with the familiar chord
structure - but this time muted. The plea now comes to us in a dying
breath but with equal intensity in its question as it cadences on the
dominant in measure sixty-four.
The tension begins to mount briefly when the firsts and violas seem
to give an abbreviated plea which quickly finds the dominant question
mark in measure sixty-six as if for the last time. An echo from the firsts
comes, however, an octave lower. The half-notes marked "molto espr." in
the firsts in measure sixty-seven should be cued individually as the rest of
the ensemble sustains the last breath marked "morendo." The ensemble is
cut-off leaving the firsts' plea sustaining into the last measure. Then the
last sighing exhale comes from the ensemble on the same chord - the
dominant. The plea is not answered.
Overview and Conclusions
At the time the String Quartet in B minor was written, Barber was
studying at the American Academy of Music in Italy. This is also where the
Pro Arts String Quartet premiered the work and originally it was most
likely submitted for a grade. This is the only example of a string quartet
by Barber as he generally limited himself to one composition per genre.
11
This was not true of the lieder. Barber had an amazing talent for setting
words to music. Ralph Vaughn Williams once expressed his admiration for
Barber's "Dover Beach," a baritone lieder set to the Matthew Arnold poem
of the same title. Apparently Vaughn Williams had tried on numerous
occasions to set the poem to music and was unsuccessful. Barber later
reflected that this compliment was quite a boost in his early years.
Perhaps the best compliment Barber could receive was the
circumstance surrounding the first performance of "Adagio." Arturo
Toscanini selected it for premier by his NBC Orchestra soon after it was
adapted for strings. This was unusual for Toscanini as he did not favor
American music and was not partial to new works. He featured the piece
on a South American tour as well.
The "Adagio" became fairly well known and in 1945 was played
immediately following the announcement of the death of President
Franklin D. Roosevelt. It was also played in remembrance of Princes Grace
of Monaco and was used in movies such as The Elephant Man and Platoon.
Eventually "Adagio" became synonymous with requiem. One obituary for
Samuel Barber even read "Adagio for Sam."
The piece is, in fact, a lament; a plea out of total frustration, if not
hopelessness, for final peace and rest. In 1967 "Adagio" finally got a voice
as Barber set the music to text and transcribed it for unaccompanied SATB
VOIces.
12
Agnus Dei, qui tollis
peccata mundi:
miserere nobis.
Agnus Dei, qui tollis
peccata mundi:
dona nobis pacem.
Translation:
Lamb of God, who takes
away the sins of the world:
have mercy upon us.
Lamb of God, who takest
away the sins of the world:
grant us peace.
The new piece was named "Agnus Dei" accordingly. Although the
piece had already been interpreted as a requiem, this text does not seem
to interfere with that interpretation. The final two measures seem to be a
final plea for peace just before death. The unresolved dominant seems to
leave the listener hanging - wondering if the plea was answered. The
listener is forced to answer the question for himself and thus, Barber has
created a piece of music that never really ends. It burning plea smolders in
the mind of the listener. .. searching for resolution.
Appendix
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