An Insight Into Samuel Barber's Adagio for Strings by Bjorn Shen

What key musical elements in Samuel Barber’s Adagio have led to its frequent adoption as a poignant, affecting soundtrack associated with grief?

!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! !!!!!!!!!!!!!!!!!!!!!!!! !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! !!!!!!!!!!!!!!!!!!!

An Insight Into Samuel Barber’s Adagio For Strings What key musical elements in Samuel Barber’s Adagio have led to its frequent adoption as a poignant, affecting soundtrack associated with grief?

Bjorn Shen 2014

#

What key musical elements in Samuel Barber’s Adagio have led to its frequent adoption as a poignant, affecting soundtrack associated with grief? !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! !!!!!!!!!!!!!!!!!!!

Abstract: What key musical elements in Samuel Barber’s Adagio have led to its frequent adoption as a poignant affecting soundtrack associated to grief?

The aim of this essay is to explore specific aspects that contribute to the Adagio’s association with grief and consider if it was Barber’s intention to do so. The essay is centralized around analysis of the score along with research into other similar pieces of “emotive” music. An interview was also conducted with philosopher David Elliot to gain further insight. The first section focuses on the Adagio’s simplicity to create poignancy through analysis of Barber’s use of Bb as a constant throughout the piece, the construction of melody, and the arch-form structure. This is supported by analysis into pieces that use similar techniques and share the theme of tragedy. For instance, research discovered links between Purcell’s use of descending chromatic scales and Barber’s use of descending melodies, which both fail to reach tonic resolution, evoking the theme of hopelessness. The second section of this essay delves into the Adagio’s final imperfect cadence and analyzes its significance to the overall theme of grief. The section then considers Barber’s choice of strings and use of extensive range to induce different timbres how this influences the mood of the piece. This focuses especially on Barber’s use of high range in in the climax, which evokes a harsh, stringent tone associable to an outcry. The overall research concluded that the piece’s associated pathos is induced by a combination of elements such as Barber’s exploitation of tension caused by suspensions and dissonance, his use of Bb as a constant, his choice of instrumentation and his manipulation of range to create different timbres.

#


Contents: Page Introduction

4

Chapters: 1. The Art of Simplicity 1.1 A Single Note 1.2 Melody 1.3 Structure

5 9 14

2. Atmosphere 2.1 The Imperfect Cadence 2.2 Instrumentation 2.3 Timbre

22 23 25

Conclusion

27

Bibliography

28

$


Introduction: Samuel Barber’s Adagio For Strings is arguably the most evocative piece of 20th century American music ever written. Since its world premiere in 1938 by Italian conductor Arturo Toscanini, it has frequently been adopted for occasions of mourning for example for the deaths of Albert Einstein, Princess Grace of Monaco and John F. Kennedy. Famous classical musician Alexander J. Morin wrote that it “rarely leaves a dry eye” 1. In modern society, the piece has constantly been adapted for tragic moments in films such as: The Elephant Man, Reconstruction, Platoon and Amelie. An entire book by Thomas Larson has even been written about the Adagio, regarding it in the tile as “the saddest music ever written” 2. When I interviewed musician, philosopher and professor David Elliot, he compared the musical elements - instrumentation, melody, harmony, and rhythmic devices - used in composition to the paints on an artist’s palette. In both cases, whether it is a painter choosing colors or a composer choosing sounds (or silence), the artists aim to evoke a response in the listener. 3 Barber’s true intention behind the Adagio is uncertain. No one will know exactly what Barber was trying to convey however the Adagio contains many musical characteristics that seize it associated with grief. This essay’s aim is to investigate why the Adagio is associated with poignancy by discerning and analyzing musical devices that contribute to the Adagio’s emotive mood. The first section focuses on the simplicity of the Adagio while the second section explores the final imperfect cadence and musical elements like timbre and instrumentation.

&

Morin, Alexander Classical Music: Third Ear: The Essential Listening Companion. (2001). Backbeat Books. p. Books. p. 74. # Larson, Thomas The Saddest Music Ever Written: The Story of Samuel Barber's "Adagio for Strings" . (2010). Pegasus Books. $ Elliot, David. A Composer's Intention. Personal interview. Beijing, 17 June 2014.

%


1.1 The Art of Simplicity – A Single Note

!"#$ &'( )'*+,*-. /0$&&1 23'#"4 55$ &67

The Adagio opens with a Bb played by the 1st Violins in pianissimo, which immediately forces the listener to engage with the piece (m.1, Fig. 1a4). The 1st Violins are in a middle range and play the Bb in a cantando manner introducing the note with a pure and tender quality. The listener is drawn in as the lingering single note in pianissimo expressively crescendos. This is a slow process, as the one note seems to last for eternity emphasized by the violins (m.1) playing in a slow legato, giving the sense that the opening Bb is hopeless, or even emotionless.

%

Barber, Samuel. Adagio F or String s Op.11. 1936. New York. 1939. by G. Schirmer, Inc.

'


!"#$ &' 8 )'*+,*-. /0$&&1 23'#"4 55$ &67

The mood is ambiguous as the Bb lingers in a void. However, Barber allows the Bb to crescendo until it is joined by the rich chord of “Ebm7” (m.1, Fig. 1a5) shifting the mood into a state of melancholy as Bb becomes the 5th of the chord. This melancholy is further established once the dominant chord F enters (m.2), creating harmonic tension, as the “Bb” becomes a dissonant note, clashing with the A. It then resolves down a semitone creating relief. The 4-3 suspension creates anticipation for resolution and sets out the harmonic language for the rest of the piece.

'


(


A similar tension-resolution effect can be heard in the opening of “Crucifixus” by Lotti from the Renaissance period as a stimulus to create emotional strain (Fig. 1b6). The piece opens with Bass 2, introducing the motif Eb, C then G. The motif is imitated except Bass 1 leaps to Ab (m.3) creating unease because of the clash between Ab and G, then acts as a suspension downwards to D resolving at measure 4. The dissonance created by the clash portrays a sense of agony of the crucifixion of Christ.

!"#$ &+ 7 9*:;"<"=:. +> ?4@@" 55$ &68

(

Lotti, Antonio. Crucifixus. n/d. New York. 1899, by G. Schirmer Inc.

)


At the climax of the piece, the opening pianissimo Bb is brought back and played in full fortissimo at the tip of the violins range (Fig.1c7, mm. 49-50). The note is struck over 4 chords Bbm6b, Gb major, Ebm7 and E major at the peak of the orchestra’s range creating a climatic outcry of emotion (See Fig.1d7). The first chord, Bbm6b, creates harmonic tension as the flat 6th in the chord, Gb, clashes with F. In beat 5 measures 49, Gb resolves and becomes the root of Gb major. Eb then appears in beat 5 measure 50, causing the Gb major to shift into an Eb minor 7th chord. The last chord E Major provides a final purging effect. The shifts between minor and major portray the piece’s erratic state.

1

!"#$ &; A )'*+,*-. /0$&&1 23'#"4 55$(A68B

!"#$ &3 A )'*+,*-. /0$&&1 23'#"4 55$(C68D

The climax acts as release. Emotions start softly with the opening Bb and build throughout the entirety of the piece until no longer containable. At this point all emotion breaks loose, as Bb is struck at the peak of the violin’s range over ove r 4 different differe nt chords. The last E Major acts as liberation for all the grief held inside throughout the entire piece. There is a pause (m.52) for re-composure, then the piece returns to the opening note “Bb” bringing back the tender expression of affection and warmth (m.53). Barber’s treatment of the “Bb” is one factor that contributes to the piece’s associated poignancy; Bb is the one constant returning factor throughout the whole Adagio as different textures and timbres are introduced. Perhaps Bb is the comfort Barber intended? )


*


1.2 The Art of Simplicity – Melody

!"#$ D' C )'*+,*-. /0$&&1 23'#"4 55$ &6(

Behind all the emotion, the piece is clearly calculated.8 The first melody phrase is a simple ascending sequence of 3 notes: fundamentally, A ! Bb ! C, repeat, up a step to Bb ! C

!Db,

repeat, up another step to C ! Db

! Eb,

then down to C (see Fig. 2a9).

Contrary to the theme of grief, the motif can be inferred as uplifting because of its ascending nature: an ascending sequence made up of 3-note-ascending patterns. Although the contour of the melody can be described as uplifting, it can also be described as “reaching”. The melody is always reaching for a tonic resolution, but never quite makes it there. Instead the Eb (m.3), which the melody finally reaches, falls back down to C establishing an Ab major (the leading note in the tonic key). The reaching melody falls short by one note, unresolved, representing a sense of hopelessness. !"#$ D+ C )'*+,*-. /0$&&1 23'#"4 55$ 86E

Following the ascending phrase is a descending melodic line that further supports the theme of hopelessness. The second phrase is an imitation of the opening motif, but instead of ascending, the melody gives up on the tonic and descends to middle C, the lowest note introduced so far (Fig. 2b9). The listener is yearning for the tonic but Barber deliberately forces the persistent melody to tumble into a miserable downfall to C, a note above the tonic Bb. This resembles the emotional state at a tragic event: the persistent fight against emotions, the redemption of dejection, and the plummet into despair. *

Kapilow, Rob. "Barber's 'Adagio': Naked Expression Of Emotion." Celebrating The Samuel Barber Centennial . 9 March 2010. + Barber, Samuel. Adagio F or String s Op.11. 1936. New York. 1939. by G. Schirmer, Inc.

+


Purcell creates a similar sense of despair by using a descending chromatic scale (see Fig. 2c10). Throughout the aria, Purcell never allows the chromatic scale to descend to the tonic, instead always to the dominant, D. Only after Dido’s final death statement do the violins play a final descending chromatic scale down to the tonic G. Furthermore, for Dido’s final statement, the vocal line descends down a diatonic scale to the tonic, for the first time cadencing with the ground bass, creating a sense of final realization of her inevitable tragic demise (see Fig. 2d10 ).

!"#$ D; &F G"34-. ?'5,H@ <*45 G"34 'H3 2,H,'. +> IJ:*;,KKL 55$ 7F67(

!"#$ D3 &F G"34-. ?'5,H@ <*45 G"34 2,H,'. +> IJ:*;,KKL 55$ 8D68(

Fig. 2e11 shows the last phrase of the opening section (mm.8-12). The opening 3-noteascending motif is reintroduced in measure 8, but as the listener is anticipating the Eb to fall to C like before, instead the C leaps immediately back up to G (m.11), letting out the first glimpse of an outcry, breaking the listener’s expectation.

!"#$ D, && )'*+,*-. /0$&&1 23'#"4 55$ E6&D

&,

Purcell, Henry. Dido’s L ament fr om “Did o and Aen eas”, Ac t 3. 1689. Les Éditions Outremontaises 2006. && Barber, Samuel. Adagio F or String s Op.11. 1936. New York. 1939. by G. Schirmer, Inc.

&,


A similar effect is heard in Dido’s Lament (See Fig. 2f 12, mm.50-51). Throughout the piece, “Remember me!” is stuck on the dominant D provoking a strong sense of anticipation in the listener (m.45, m.47). The expectation is finally realized, when the 3rd and final “Remember me!” (mm.50-51) leaps up to G (tonic) letting out a final desperate outcry that depicts the tragic line before Dido’s demise.

!"#$ D< &D G"34 ?'5,H@ <*45 G"34 'H3 2,H,'. 55$ (( 68(

In constrast, it can be interpreted that the leap to G (m.11) in Barber’s Adagio portrays not grief but catharsis because the ascending melody finally reaches the G as release, the first time in which the piece hovers on the sub-dominant (Fig. 2g 13). This is further established by Barber’s use of imitation. The unexpected leap is imitated by the 2nd Violins, which leap an octave from middle C to high C (m.12), in piano.

!"#$ D# &B )'*+,*-. /0$&&1 23'#"4 55$ E6&D

&#

Purcell, Henry. Dido’s L ament fr om “Did o and Aen eas”, Ac t 3. 1689. Les Éditions Outremontaises 2006. &$ Barber, Samuel. Adagio F or String s Op.11. 1936. New York. 1939. by G. Schirmer, Inc.

&&


However, another point to consider is immediately after this, Barber moves C down to a Cb creating dissonance resulted from the tri-tone interval of F and Cb, between 1st Violins and 2nd Violins (see Fig. 2h14 ). The tri-tone has a discordant, quality that produces a sense of distress, distres s, relatable to grief.

!"#$ DP &( )'*+,*-. /0$&&1 23'#"4 55$ &&6&D

The tri-tone is commonly associated with unease because of its dissonant characteristic. In the opening of “One Summer’s Day”, by Joe Hisaishi, the tri-tone immediately sets a nostalgic discomfited mood induced by the dissonance produced by the tri-tone interval between F and B (see m.5, Fig.2i 15).

!"#$ D" &8 /H, M:55,*-. G'> +> IN4, O".'".P"L 55$ & 68

&%

Barber, Samuel. Adagio F or String s Op.11. 1936. New York. 1939. by G. Schirmer, Inc. Hisaishi, Joe. One Summer’s Day from Encore (originally from Spirited Away). 2002. Transcribed by Pseudo &'

&#


“A piece of music is never listened to in the same way by two individuals. Therefore, the interpretation of any music is purely subjective to the listener. The composer may have an “intention”, for example to convey the feeling of “joy” or “sadness”, but in the end it is all up to the listener. It is our job as the listener to use our ears and listen.” 16 (Elliot) No one knows Barber’s Barber ’s exact intention behind the Adagio, whether he wanted to convey a sense of absolute grief or for the piece to have a purging effect. But from the analysis of the melody, it can be interpreted that the piece provides not only grief, attributable to the dissonant tri-tone intervals and failure to reach tonic, but also a sensation of catharsis due to the ascending contour of the melody and leaps.

&(

Elliot, David. A Composer's intention Personal interview. Beijing, 17 June 2014. 2014.

&$


1.3 The Art of Simplicity – Structure

Barber implements an arch-form structure, a sectional structure based around repetition. The sections of an arch-form structure do not have to be exactly repeated, but must contain the same thematic material17. Many variations of Arch-form structure exist, but generally the most common is ABCBA. Barber implements a slightly different form to ABCBA, as there are 7 sections. This gives a sense of discord because it breaks the symmetry of the whole piece. However because of the Adagio’s slow tempo, it is unlikely that the listener is explicitly aware of the extra section. The Adagio is constructed around the repetition of the opening 3-note-ascending sequence (see Fig. 3a18). Barber moves this motif throughout the whole orchestra: first as the opening phrase in the violins, then the violas, then the cellos. The climax is reached when the violins and violas overlap. The raw simplicity, repetition and space create the opportunity for the listener to impose their own emotive response. The 1st Section (Opening):

!"#$ B' &E )'*+,*-. /0$&&1 23'#"4 55$ &67

&)

-./01 23/4 5.676.89 QP, R:."; SH3,*#*4:H3 : &, ;<=> #,,*

&*


&%

What key musical elements in Samuel Barber’s Adagio have led to its frequent adoption as a poignant, affecting soundtrack associated with grief? !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! !!!!!!!!!!!!!!!!!!! nd

The 2 Section:

Fig. 3b19 shows the second opening bar of the second phrase. Essentially it is the same melodic pattern as the opening phrase, except instead of starting on Bb, the violas play the motif a perfect 4th above the original melody on Eb. This conveys relief because by moving the motif up a perfect 4th, the note that the motif descends to now becomes F, the major 3rd of the chord (m.15). Barber ends the phrase on the relative major of the piece, Db Major, and because the motif now acts as the major 3rd it defines the chord as a bright uplifting chord. In context, the major chord can be seen as release because it brings the motif to a content closure.

!"#$ B+ &C )'*+,*-. /0$&&1 23'#"4 55$ &B6&7

&+


&'

What key musical elements in Samuel Barber’s Adagio have led to its frequent adoption as a poignant, affecting soundtrack associated with grief? !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! !!!!!!!!!!!!!!!!!!! rd

The 3 Section:

In measure 22 (Fig. 3c20), the violas imitate the violin’s leap from the first section. Instead of the ascending melody falling back down to a state of despondency, it leaps up from F to Cb (m.22) letting out a cry of anguish. Barber implements the tri-tone interval once again, where the motif leaps from F to Cb creating dissonance, portraying a sense of misery.

!"#$ B; DF )'*+,*-. /0$&&1 23'#"4 55$ DD6D7

This tri-tone leap can evoke a theme of “tragedy” as the interval is familiarly associated with death as heard in the piece “Danse Macabre”, translated Dance of Death, written by Camille Saint-Saens. The violins enter playing tri-tone leaps consisting of Eb and A (Fig. 3d 21). The 2nd Violins are tuned down a semi-tone to Eb to create the tri-tone clash evoking a harsh discordant atmosphere portraying death.

!"#$ B3 D& G'H., R';'+*, /0$(F +> I9'5"KK, M'"H@6M',H.L1 23'#"4 55$ D86 BD

#,

Barber, Samuel. Adagio F or String s Op.11. 1936. New York. 1939. by G. Schirmer, Inc. Saint-Saëns, Camille. Danse M acabre, O p. 40 1874. Paris. 1875 Durand, Schoenewerk et Cie. 4 Place de la Madeline #&

&(


In Music, dissonance is one conventional way of evoking misery. The 19th song of Die Schoene Mullerin portrays a young man singing a lament in his despair, after being rejected by a woman22. Schubert achieves the despotic mood by having the semi-tone dissonant clash between the F# vocal line and the piano bass on a G (similar to the tritone usage of Barber) (see Fig.3e23).

!"#$ B, DB G,* R:KK,* SH3 G,* )';P <*45 IG", M;P4,H, R:KK,*"H,L +> I!*'HT M;P:+,*@L 55$ B68

After Barber’s implementation of the tri-tone leap there is a short counterpoint where the violins play the main descending theme, answered by the violas (M.24). This resembles a mournful call contrasted by a response of a soft, tender melody played in “p” by the violas, further conveying grief (Fig. 3f 24).

!"#$ B< D( )'*+,*-. /0$&&1 23'#"4 55$ DD6D7 ##

Sgroi, Celia, Song Cycle Translations of Franz Schubert. n.d. Web. 14. July 2014

#$

Schubert, Franz 19. Der Muller und der Bach from “Die Schoen M ullerin” Op. 25, D. 795. 1823. Germany. n.d. Jürgen Knuth #%Barber, Samuel. Adagio F or Strin gs Op.11 . 1936. New York. 1939. by G. Schirmer, Inc.

&)

What key musical elements in Samuel Barber’s Adagio have led to its frequent adoption as a poignant, affecting soundtrack associated with grief? !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! !!!!!!!!!!!!!!!!!!! th

The 4 Section:

This section can be associated as the lowest point of emotion in the Adagio as the motif is introduced in the cello part. Fig. 3g25 measure 28 shows the opening of the fourth section of the Adagio. An important factor to note is that although the motif played by the cello (the lowest instrument of the orchestra), the actual part of the cello (m.27) is in a high range, as it is tenor clef starting on a high B for cello. This gives a forced timbre in the melody and creates a stringent, somber atmosphere. A sense of loss is portrayed here, because of the loss of thick texture, as the cellos are no longer providing the low textual harmony. In fact, the cellos are playing higher than the viola part, which instead gives an extremely thin texture, evoking a hollow, raucous atmosphere, relatable to grief.

!"#$ B# D8 )'*+,*-. /0$&&1 23'#"4 55$ DA6B&

#'


&*


The 5 Section:

The climax is reached in section 5 as the piece slowly grows with emotion (mm.48-49), building over the ascending motif until it reaches the peak, the pinnacle of tension and passion, the adagio’s ad agio’s final rupture ru pture of o f emotion. Fig. 3f 26 shows the violins playing the 3note-ascending motif (m.48) up an octave creating a strident tone while overlapped with the violas, inducing dissonance, reaching the zenith of tension. Beneath all of this, the orchestra is playing at the peak of their range; the cellos are in treble clef playing D, creating an intensely harsh timbre. Finally the opening constant note Bb is struck by the violins at full force over 4 chords, letting out a final purge of grief built throughout the whole Adagio.

!"#$ B< D7 )'*+,*-. /0$&&1 23'#"4 55$ (E68(

#(


&+


The 6 Section:

After every climax comes a reprieve, space for breath. This section is only 7 measures long, just enough for the listener to catch a breath and recompose. (see Fig. 3f 27). Measures 55-56 gradually approach closure with long-dotted semi-breve note valued chords. At measure 56 there is an imperfect cadence ending on F major (dominant) which foreshadows the final imperfect cadence of the Adagio. The piece then returns back to the opening motif in measure 57. By returning to the constant Bb, Barber allows the listener to associate the piece back to the start of the piece where it first began much like a person reflecting and grieving on the past. The piece starts to slowly build again as the same ascending melodic line is repeated developing with longer crescendos, with the violas doubling the violins but soon dies away, marked by the “morendo” and decrescendos (mm.60-61).

!"#$ B< DA )'*+,*-. /0$&&1 23'#"4 55$ 8867&

#)


#,


The 7 Section (The closing section)

The final section starts with the opening motif continued from the previous section (Fig. 3g 28 ). The 1st Violins and Violas play the motif simultaneously until the Adagio approaches closure in measure 64. The opening motif that returns back to Bb in measure 64 is cut off short to only 4 notes Bb, A, Bb, C then back down to A. Our grief and emotions are shortened as we approach closure. Barber reiterates this in the final measures by once more restating the opening motif, except he moves the 4 notes down an octave, slowing the tempo down even further by doubling the length of each note value to minims (m.67). Everything is reduced to one note “A”, the dominant and inevitably the only solution to closure. “A” is repeated again to confirm the Adagio’s failure to reach a tonic resolution. It remains unresolved, leaving the listener unsettled.

!"#$ B# DE )'*+,*-. /0$&&1 23'#"4 55$ 7D67C

#*


#&

What key musical elements in Samuel Barber’s Adagio have led to its frequent adoption as a poignant, affecting soundtrack associated with grief? !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! !!!!!!!!!!!!!!!!!!! 2.1 Atmosphere – The Imperfect Cadence

The Adagio’s final imperfect cadence perfectly symbolizes the narrative of a lament. The imperfect cadence encapsulates exactly what loss is about: unanswered, no sense of closure and futile. The whole piece begins to die away from measure 65 where the melodic phrase is cut off and all emotion slowly starts reducing, diminishing in weight (see Fig. 4a 29). Finally, the piece reaches the final dominant do minant chord chor d of o f F major in measure meas ure 68. The listener wants wa nts the dominant chord to resolve to the tonic (Bbm) but Barber doesn’t give the listener resolution. Instead, Barber repeats the dominant chord and leaves the listener with a sense of yearning for resolution, a feeling of incompleteness, similar to the longing one feels after a tragic event such as a funeral.

!"#$ (' DC )'*+,*-. /0$&&1 23'#"4 55$ 7D67C

#+


##

What key musical elements in Samuel Barber’s Adagio have led to its frequent adoption as a poignant, affecting soundtrack associated with grief? !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! !!!!!!!!!!!!!!!!!!! 2.2 Atmosphere – Instrumentation

The choice of strings literally establishes an enduring “moving” effect over the Adagio tempo, creating the perfect mood. Strings are the most versatile of all classical instruments; a note can be bowed forever 30, which is perfect for an extremely slow piece like this. Barber adds “crescendos” and long slurs throughout the whole piece. Fig. 5a31 shows an example of the climax where the motif gradually builds with long slurs and dynamics giving the Adagio a progressive, moving disposition. The whole piece is orchestrated around the ascending motif. This associates a poignant mood because the motif is not just ascending in melody, but throughout the whole piece it mounts in dynamics and expression giving the piece a slow but definite “growing” effect, symbolizing the cumulative building of emotions throughout the Adagio.

!"#$ 8'B& )'*+,*-. /0$&&1 23'#"4 55$ (E68(

$,

Adler, Samuel. The Study of Orchestration Third Edition. New York. 2002. W.W. W .W. Norton & Company,

Inc. $&


#$


Fig. 5b 32 shows a Baroque piece, Adagio in G minor” by Remo Giazotto, which encompasses similar instrumentation. The cellos acts as a bass line while the violins plays in in 5ths with the violas providing the thick warm texture. Fig. 5b32 shows octave leaps in the cello (m.1), similar to Barber’s implementation of the octave leap in the violas (Fig. 5c, m.11). This octave leaping technique causes a sudden emotional outburst that is associable with distress or purgation. Both “Adagio for Strings’ and “Adagio in G minor”, are in minor keys which in western classical music are associated with sorrow. Arguably, Adagio In G minor portrays a stronger sense of grief because the octave leap is repeated in the cello as a descending bass line, from G to F then down to E, so overall the melodic contour of the bass b ass line is in a descending movement, representing an emotional instability with the octave leaps and an overall decline into misery (Fig. 5b32, mm.1-3). Where as in Adagio for Strings, because the leap is being used as imitation of the 1st Violins and the fact that the note value is held for 4 beats by the tie, instead it is more relatable to a sense of relief. (Fig. 5c33, m.11-12)

!"#$ 8+B& 23'#"4 UH V R"H4* +> V"'T4@@41 W,54 55$ &6 7

!"#$ 8;BB )'*+,*-. /0$&&1 23'#"4 55$ E6&D

$#

Mi nore. 1958. n.d. Matmati, Jawher Giazotto Remo (Albinoni, Tomaso), Adagio i n Sol Minore. $$ Barber, Samuel. Adagio F or String s Op.11. 1936. New York. 1939. by G. Schirmer, Inc.

#%

What key musical elements in Samuel Barber’s Adagio have led to its frequent adoption as a poignant, affecting soundtrack associated with grief? !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! !!!!!!!!!!!!!!!!!!! 2.3 Atmosphere –Timbre

Barber’s utilization of extensive range is arguably one of the central reasons for the piece’s association with grief. A prime example of this is seen in the cello part. Throughout the whole piece, the cellos are played in a very high range, giving a forced, strident tone as seen in Fig. 6a34 the climax, where the cellos are starting on high C and even moves to Db above the octave which is extreme for the range of the cello. Similarly, the 1st violins (mm.50-54) are also in an extremely high range. Fig. 6a34 shows the climax where all the instruments play at the peak of their range, creating an extremely stringent, sawing sound that immediately associates the piece to an outcry of grief.

!"#$ 7'B( )'*+,*-. /0$&&1 23'#"4 55$ (E68(

%$Barber, Samuel. Adagio F or String s Op.11. 1936. New York. 1939. by G. Schirmer, Inc.

#'


Barber plays with both extremes of timbre. He opens the piece with a thin timbre (mm.1, Fig. 6b35 ), which is then immediately joined by a rich chord Ebm 7 with all the instruments playing in a comfortable range, creating a thick warm texture.

!"#$ 7+B8 )'*+,*-. /0$&&1 23'#"4 55$ &6B

In contrast, Fig. 6c35 measure 48-51 shows the other end of the spectrum, when the violins rise up to the tip of their range hitting the strained top Bb note. The Bb is played 2 octaves higher than the opening Bb creating a piercing almost screech like sound, which is directly associable with sorrowful outcry.

!"#$ 7;B8 )'*+,*-. /0$&&1 23'#"4 55$ (E68F

A similar use of extensive range is heard in the last measures of “Peripetie”, by Arnold Schoenberg’, symbolizing Schoenberg’s instable erratic state of emotions (Fig. 6d36). The sudden extensive leaps portray the chaotic state of Schoenberg characterizing his irrepressible, miserable temperament.

!"#$ 73 B7 J,*"0,@", <*45 8 /*;P,.@*'K J",;,. +> I2*H4K3 M;P4,H+,*#L

$'

Barber, Samuel. Adagio F or String s Op.11. 1936. New York. 1939. by G. Schirmer, Inc. $( Schoenberg, Arnold, Peripetie from “Five “F ive Orche stral Pie ces” Op. 16. 1909 n.d. Edition Peters No. 3377

#(


Conclusion: What key musical elements in Samuel Barber’s Adagio have led to its frequent adoption as a poignant affecting soundtrack associated to grief?

Through musical analysis of the score, this essay found that there are many various implemented musical devices that contribute to the Adagio’s poignant, affecting mood and associated pathos. Section 1 establishes that Barber’s use of anticipation through the constant Bb, descending melodies that fail to reach resolution and unexpected leaps create distress. As David Eliot states, it’s all about “interpretation” and the perception of the listener.37 Therefore, the essay acknowledges that the Adagio can also be interpreted as cathartic because of the ascending couture of the melody and the leaps that produce release. release . A strong sense of despair is also portrayed through the disjointed arch-form structure, tritones, the extensive range and the final imperfect cadence. This is supported by the study of other pieces that use similar techniques, particularly dissonance by semi-tone clashes and tri-tones. The specific theme of “hopelessness” is also depicted through the descending melodies that fall to imperfect cadences. Overall, the essay concludes that Barber’s use of musical features and devices result in the Adagio’s frequent adoption as a poignant soundtrack associable with grief. Moreover the essay also reveals that perhaps there are common codes in the realm of music that evoke specific emotions like grief such as tri-tones and melodies that fail to reach tonic resolution.

$)

Elliot, David. A Compo ser's int ention Personal interview. Beijing, 17 June 2014.

#)


Bibliography: Scores:

Barber, Samuel. Adagio For Strings Op.11. 1936. New York. 1939. by G. Schirmer, Inc. Hisaishi, Joe. One Summer’s Day from Encore (originally from Spirited Away). 2002. Transcribed by Pseudo Giazotto, Remo (Albinoni, Tomaso), Adagio in Sol Minore. 1958. n.d. Matmati, Jawher Lotti, Antonio. Crucifixus. n.d. New York. 1899, by G. Schirmer Inc. Purcell, Henry. Dido’s Lament from “Dido and Aeneas”, Act 3. 1689. Les Éditions Outremontaises 2006. Saint-Saëns, Camille. Danse Macabre, Op. 40 1874. Paris. 1875 Durand, Schoenewerk et Cie. 4 Place de la Madeline Schubert, Franz 19. Der Muller und der Bach from “Die Schoen Mullerin” Op. 25, D. 795. 1823. Germany. n.d. Jürgen Knuth

Schoenberg, Arnold, Peripetie from “Five Orchestral Pieces” Op.16. 1909 n.d. Edition Peters No. 3377

#*


CD’s:

Barber, Samuel. Adagio For Strings Op.11. “ The 50 Greatest Pieces of Classical Classical Music” London Philharmonic Orchestra. 2009. CD. Track 1. Hisaishi, Joe. One Summer’s Day from “Melodyphony” London Symphony Orchestra 2010. CD. Track 8. Giazotto, Remo (Albinoni, Tomaso), Adagio in G Minor for Strings and Organ (after T. Albinoni). “The 50 Greatest Pieces of Classical Music” 2009. London Philharmonic

Orchestra. 2009. CD. Track 2. Lotti, Antonio. Crucifixus. “Renaissance Music for Inner Piece” The Sixteen. 2005. CD. Track 3. Purcell, Henry. Thy Hand, Belinda – When I Am laid In Earth from “Purcell Dido and Aeneas”, Connolly, Finley, Crowe, Bardon, Ainsley n/d. CD.

Saint-Saëns, Camille. Danse Macabre, Op. 40. From “Legend Of The Orchestra” Orchestre Du Capitole De Toulousem, Michel Plasson Paris. n.d. CD. Schubert, Franz 19. Der Muller und der Bach from “Die Schoen Mullerin” Jonas Kaufmann, Helmut Detsch. 2010. CD. Track 19. Schoenberg, Arnold, 5 Orchestral Pieces, Op. 16:IV. Peripetie from “Surrealist Minds”. Kurt Weill, Oliver Messigen. n.d. CD.

#+


Books:

Morin, Alexander. Classical Music: Third Ear: The Essential Listening Companion. Backbeat Books. (2001). p. 74. Adler, Samuel. The Study of Orchestration Third Edition. New York. 2002. W.W. Norton & Company, Inc. Larson, Thomas The Saddest Music Ever Written: The Story of Samuel Barber's "Adagio for Strings" . (2010). Pegasus Books.

Websites:

Sgroi, Celia, Song Cycle Translations of Franz Schubert. N.d. Web. 14. July 2014 SH3,*#*4:H31 &, ;<=> #,,* -./01 23/4 5.676.89 QP, R:."; SH3,*#*4:H31 &,

Others:

Elliot, David. A Composer's intention Personal interview. Beijing, 17 June 2014. Kapilow, Rob. "Barber's 'Adagio': Naked Expression Of Emotion." Celebrating The Samuel Barber Centennial . 9 March 2010.

$,

An Insight Into Samuel Barber's Adagio for Strings by Bjorn Shen

Recommend Documents