This week’s music is the String Quartet, Opus 11, by the early 20th-century American composer Samuel Barber.
Barber, who ranks alongside Aaron Copland and Charles Ives as one of the greatest American composers of all time, wrote a number of famous works throughout the course of his tragically short life. None are more famous, however, than the Adagio for Strings, arguably one of the most moving pieces of music in the world today. (We listened to it a while ago – check it out here: https://thisweeksmusic.com/2020/02/08/top-25-17-barber-adagio/). As it turns out, the Adagio for Strings was not a stand-alone composition. It was originally conceived as the second movement of Barber’s string quartet, the piece we will hear today.
The structure of this piece is rather strange. Most string quartets – in fact, most multi-movement compositions in general – feature distinct movements that showcase their own unique thematic material. In addition, most string quartets have four movements. This quartet, however, includes only three movements, the first and third of which utilize the same thematic material. The third movement is essentially a reprise of the first. It is almost as if Barber wrote an extended first movement, then cut it in half and inserted the second movement. Luckily for us, that second movement turned out to be the basis for the Adagio for Strings.
Strange structure aside, this piece reveals a musical genius at his best. There is not a wasted note in the entire quartet. For me, this piece has the feel of a Hemingway novel – concise, punchy, edited to the bone, and so alive you feel it might singe your eyebrows if you got too close.