Violin Concerto (Barber)

Samuel Barber completed his Violin Concerto, Op. 14, in 1939. It is a work in three movements, lasting about 22 minutes.

In 1939, Philadelphia industrialist Samuel Simeon Fels commissioned Barber to write a violin concerto for Fels' ward, Iso Briselli, a graduate from the Curtis Institute of Music the same year as Barber, 1934. The Barber biographies written by Nathan Broder (1954) and Barbara B. Heyman (1992) discuss the genesis of the concerto during the period of the violin concerto's commission and subsequent year leading up to the first performance. Heyman interviewed Briselli and others familiar with the history in her publication. In late 2010, previously unpublished letters written by Fels, Barber, and Albert Meiff (Briselli's violin coach in that period) from the Samuel Simeon Fels Papers archived at the Historical Society of Pennsylvania became available to the public.

Barber accepted his advance and went to Switzerland to work on the concerto. Barber started working on the first two movements in Switzerland during the summer of 1939. He hoped to complete the concerto in the early fall to meet the October 1st deadline. His plans were interrupted, however, due to the impending war—all Americans were warned to leave Europe. In late August, he went to Paris and then took a ship to the USA, arriving in early September. After spending a short time with his family in West Chester, PA, he went to the Pocono Mountains to continue working on the concerto.

When he delivered the first two movements to Briselli in mid-October, Briselli received them with great enthusiasm. He believed they were beautiful and eagerly awaited the finale. He suggested to Barber that when writing the last movement, he might include more of the virtuosic side of the violin's capabilities.

However, in mid-November, things began to go awry. Briselli showed the two completed movements he was learning to his violin coach in New York City, Albert Meiff, who was immediately critical of the work from a violinistic standpoint. Briselli did not concur. Nevertheless, Meiff, who enjoyed the confidence of Fels, and believing he was protecting Briselli's interests, took it upon himself to write Fels a letter (November 13) stating why the violin part had to undergo a "surgical operation" by a "specialist" such as himself. He said "The technical embellishments are very far from the requirements of a modern violinist..." and if Briselli performed the work as written, it would severely hurt his reputation. Meiff said he was rewriting the violin part to make it more acceptable and that it was necessary that he, Briselli and Barber get together for a "special meeting" to discuss his changes. Briselli was disappointed when he received the third movement from Barber in late November. He had expected a finale comparable in substance and quality to the first two movements, and felt it was too lightweight by comparison. He told Barber that it did not have a sense of belonging; it seemed musically unrelated to the first two movements, and he thought it was insufficient in compositional form or development to stand as the finale of a major work. It was important to Briselli that the commission be as substantial as the other major concertos in his repertoire that he was offering for prospective orchestra engagements.

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