Barbara Harbach
String Orchestra and Concertos
String Orchestra and Concertos
Sinfonietta for String Orchestra,
2010
Sinfonietta for String Orchestra is a petite symphony in three movements. The first movement, Hommage, is dedicated to all lost love and loved ones. The form is a loose rondo in six sections (ABACBA). The first section opens with a mournful descending line in the first violins, and this motive is soon taken up by all the strings but the double bass. Each entrance is a third apart with the bass adding harmonic support. The next section reveals the entire theme that is partially quoted at the beginning of the piece with murmurings in the viola and second violins, but now in a faster tempo. This material is developed with imitations and a key change. The melodic motive of the opening section returns, and in a new key before leading into the third section. The theme of this section is reminiscent of “In the Cold in the Deep in the Dark,” Alexandra’s aria from Harbach’s O Pioneers!. In this aria, Alexandra mourns the death of her murdered brother, Emil.
Beginning with imitation based on a two-measure motive, Jeu Jeu, plays with rests, slurs and staccatos in a five-part form (ABACA). The first violins have their own theme, also punctuated with rests before morphing into a new treatment of Marie’s “Moon Waltz” from O Pioneers!, still with the same ostinato opening motive accompanying.
Pastiche is a combination of melodies, with the melodies playing happily together or juxtaposed together in a six-part form (ABACBC). The first section is imitative with spritely syncopations leading into the tango section that has fiery glissandos and tremolos. The theme of the first section returns, but now in unison, breaking into a wide-spaced texture. Next, a rollicking fugue starts, and contains many key changes with an extended area of augmentation of the fugal theme in the lower strings. The captivating tango returns, but is cut short by the return of the fugue, more insistent than before.
Click to view I. Hommage
Click to view II. Jeu Jeu
Click to view III. Pastiche
Sinfonietta for String Orchestra is a petite symphony in three movements. The first movement, Hommage, is dedicated to all lost love and loved ones. The form is a loose rondo in six sections (ABACBA). The first section opens with a mournful descending line in the first violins, and this motive is soon taken up by all the strings but the double bass. Each entrance is a third apart with the bass adding harmonic support. The next section reveals the entire theme that is partially quoted at the beginning of the piece with murmurings in the viola and second violins, but now in a faster tempo. This material is developed with imitations and a key change. The melodic motive of the opening section returns, and in a new key before leading into the third section. The theme of this section is reminiscent of “In the Cold in the Deep in the Dark,” Alexandra’s aria from Harbach’s O Pioneers!. In this aria, Alexandra mourns the death of her murdered brother, Emil.
Beginning with imitation based on a two-measure motive, Jeu Jeu, plays with rests, slurs and staccatos in a five-part form (ABACA). The first violins have their own theme, also punctuated with rests before morphing into a new treatment of Marie’s “Moon Waltz” from O Pioneers!, still with the same ostinato opening motive accompanying.
Pastiche is a combination of melodies, with the melodies playing happily together or juxtaposed together in a six-part form (ABACBC). The first section is imitative with spritely syncopations leading into the tango section that has fiery glissandos and tremolos. The theme of the first section returns, but now in unison, breaking into a wide-spaced texture. Next, a rollicking fugue starts, and contains many key changes with an extended area of augmentation of the fugal theme in the lower strings. The captivating tango returns, but is cut short by the return of the fugue, more insistent than before.
Click to view I. Hommage
Click to view II. Jeu Jeu
Click to view III. Pastiche
Freedom
Suite for String Orchestra, 2010
I. Harriet Scott – A Strong Woman is inspired by her memories as a child in Minnesota and St. Louis. She would have heard spirituals and dance music as an adult, and they, hopefully, would have reminded her of the good memories she had as a child and a young woman.
A brief introduction ushers in The Good Lord is Comin’ for Me, a new spiritual based on the traditions of the 18th and 19th century American spirituals. Dance reels follow, in imitation of the Virginia Reels that were popular in the 19th century and in St. Louis, Missouri. The poignant spiritual Don’t You Weep When I’m Gone, composed by Harry (Henry) Thacker Burleigh (1820-1869) has the melody in the cello that so wonderfully portrays the rich somberness of Burleigh’s melody. The dance tunes and The Good Lord is Comin’ for Me return and rush exuberantly toward the close.
II. Eliza and Lizzie – Let My People Go!
The second movement is inspired by two spirituals – Sometimes I Feel Like A Motherless Child and Go Down, Moses. The movement seems to open with random-like pitches in long notes, but is built on the circle-of-fifths utilizing the notes in the chromatic scale. The first section features Sometimes in G Minor with a triple canon among the two violins and viola. An interlude of the opening material then precedes a combination of the two melodies in F-sharp Minor although the melody Go Down predominates. The final section combines as well as alternates between the two melodies.
III. Freedom - At Last opens with a rising and ecstatic fanfare. A joyous four-voice fugue begins. Even amid the celebration of freedom is the ache of memories from the past – Many Thousands Gone – a new spiritual melody inspired by the words of the spiritual of the same name. The fugue melody is then combined with Many Thousands Gone. With each return of the fanfare, excitement builds…but always touched by the memories of the many that have gone, until the feeling of freedom is wholly embraced.
Click to view I. Harriet Scott - a Strong Woman
Click to view II. Eliza and Lizzie - Let My People Go!
Click to view III. Freedom - At Last
I. Harriet Scott – A Strong Woman is inspired by her memories as a child in Minnesota and St. Louis. She would have heard spirituals and dance music as an adult, and they, hopefully, would have reminded her of the good memories she had as a child and a young woman.
A brief introduction ushers in The Good Lord is Comin’ for Me, a new spiritual based on the traditions of the 18th and 19th century American spirituals. Dance reels follow, in imitation of the Virginia Reels that were popular in the 19th century and in St. Louis, Missouri. The poignant spiritual Don’t You Weep When I’m Gone, composed by Harry (Henry) Thacker Burleigh (1820-1869) has the melody in the cello that so wonderfully portrays the rich somberness of Burleigh’s melody. The dance tunes and The Good Lord is Comin’ for Me return and rush exuberantly toward the close.
II. Eliza and Lizzie – Let My People Go!
The second movement is inspired by two spirituals – Sometimes I Feel Like A Motherless Child and Go Down, Moses. The movement seems to open with random-like pitches in long notes, but is built on the circle-of-fifths utilizing the notes in the chromatic scale. The first section features Sometimes in G Minor with a triple canon among the two violins and viola. An interlude of the opening material then precedes a combination of the two melodies in F-sharp Minor although the melody Go Down predominates. The final section combines as well as alternates between the two melodies.
III. Freedom - At Last opens with a rising and ecstatic fanfare. A joyous four-voice fugue begins. Even amid the celebration of freedom is the ache of memories from the past – Many Thousands Gone – a new spiritual melody inspired by the words of the spiritual of the same name. The fugue melody is then combined with Many Thousands Gone. With each return of the fanfare, excitement builds…but always touched by the memories of the many that have gone, until the feeling of freedom is wholly embraced.
Click to view I. Harriet Scott - a Strong Woman
Click to view II. Eliza and Lizzie - Let My People Go!
Click to view III. Freedom - At Last
Timisoara
for
String Orchestra, 2010
Nights in Timisoara for String Orchestra evokes the essence of the Romanian people in the eastern city of Timisoara. Over the years many cultures have influenced and left their mark in the neighborhoods throughout the city even to the present time. Nights in Timisoara strives to portray in music the exotic architecture and vibrant culture life of this “Little Vienna” which is also called “the City of Flowers.” Nights in Timisoara opens with a wide-range flourish spanning across the instruments, evolving into a haunting melody in the first violins over a moving accompaniment. This is followed by a tango ostinato with the violins dueling over the melodic motives. A four-voice jig fugue begins in the cello while the violins have their own imitative fugue. The opening flourish returns leading into a toccata for the string orchestra with the melody in the lower strings. Nights is an enlarged version which began as an organ composition.
Click to view Nights in Timisoara
Nights in Timisoara for String Orchestra evokes the essence of the Romanian people in the eastern city of Timisoara. Over the years many cultures have influenced and left their mark in the neighborhoods throughout the city even to the present time. Nights in Timisoara strives to portray in music the exotic architecture and vibrant culture life of this “Little Vienna” which is also called “the City of Flowers.” Nights in Timisoara opens with a wide-range flourish spanning across the instruments, evolving into a haunting melody in the first violins over a moving accompaniment. This is followed by a tango ostinato with the violins dueling over the melodic motives. A four-voice jig fugue begins in the cello while the violins have their own imitative fugue. The opening flourish returns leading into a toccata for the string orchestra with the melody in the lower strings. Nights is an enlarged version which began as an organ composition.
Click to view Nights in Timisoara
In Requiem: Turn Round, O My Soul, To Your
Rest for String Orchestra,
2010
In Requiem is a eulogy and elegy for All Souls Day, remembering the friends and loves that have passed through our lives. Strings evoke the feelings that words cannot express – sadness, beauty, mournfulness, grief, sorrow and nobleness. The harshness of grief is portrayed by the dissonance near the end of the middle section with loud, tension and grief-stricken chords. Convertere, anima mea, in requiem tuam, requiem tuam.
Click to view In Requiem: Turn Round
In Requiem is a eulogy and elegy for All Souls Day, remembering the friends and loves that have passed through our lives. Strings evoke the feelings that words cannot express – sadness, beauty, mournfulness, grief, sorrow and nobleness. The harshness of grief is portrayed by the dissonance near the end of the middle section with loud, tension and grief-stricken chords. Convertere, anima mea, in requiem tuam, requiem tuam.
Click to view In Requiem: Turn Round
Two Songs from the Sacred Harp for String Orchestra, 2010
The Morning Trumpet for String Orchestra is based on the melody, “The Morning Trumpet,” 1844, composed by Benjamin Franklin White (1800 - 1879), a singing master and compiler of the shape-note hymn book known as The Sacred Harp. Harbach has always been fascinated with early American hymn tunes, and set many of them throughout her compositions.
Oh when shall I see Jesus,
And reign with Him above,
And shall hear the trumpet sound in the morning?
And from the flowing fountain
Drink everlasting love,
And shall hear the trumpet sound in the morning?
Chorus
Shout, Oh glory! for I shall mount above the skies,
When I hear the trumpet sound in the morning.
The Morning Trumpet for String Orchestra is a multi-sectional form. The first section alternates unison and lush chords. This leads into the second section with the poignant tune in the viola with a solo violin beginning its counter melody less than a half beat later with the lower strings softly pizzicato. The cello takes over for the second half of the verse, and then the viola finishes with the melody of the chorus. The opening material returns leading into the first fugue with the melody taken from the first phrase of the hymn tune. All but the double bass participate in the fugue. A short transitional section precedes a new statement of the chorus with the melody in the violas and cellos. A new fugue begins with the entrances two beats apart in a stretto manner. Unison writing alternating with chords returns before a short coda quotes the first and last phrases of the hymn.
Early American composer, William Billings (1746-1800), wrote the tune Chester with his own patriotic text and it became unofficially national anthem of the American Revolution. In music, he was largely self-taught, a tanner by trade. His New England Psalm-Singer (1770) was the first collection of music entirely by an American
Let tyrants shake their iron rods. And slavery clank her galling chains.
We fear them not, We trust in God. New England's God forever reigns.
The foe comes on with haughty stride, our troops advance with martial noise,
Their veterans flee before our youth, and generals yield to beardless boys
What grateful offerings shall we bring, what shall we render to the Lord,
Loud Hallelujahs let us sing, and praise His name on every chord.
Harbach’s version of Chester for String Orchestra is a three-part form. Churning strings preface the entrance of the melody in the lower strings. This is followed by sharply, syncopated rhythmic patterns in the upper strings. A key change heralds large divisi chords, ending with syncopated chords and a flourish. The following fugue subject, based on the first phrase of the hymn, begins in the viola, with each entrance a fifth higher. A canon between cello and viola leads into the opening materials with the sturdy melody again in the lower strings.
Click to view I. The Morning Trumpet
Click to view II. Chester
The Morning Trumpet for String Orchestra is based on the melody, “The Morning Trumpet,” 1844, composed by Benjamin Franklin White (1800 - 1879), a singing master and compiler of the shape-note hymn book known as The Sacred Harp. Harbach has always been fascinated with early American hymn tunes, and set many of them throughout her compositions.
Oh when shall I see Jesus,
And reign with Him above,
And shall hear the trumpet sound in the morning?
And from the flowing fountain
Drink everlasting love,
And shall hear the trumpet sound in the morning?
Chorus
Shout, Oh glory! for I shall mount above the skies,
When I hear the trumpet sound in the morning.
The Morning Trumpet for String Orchestra is a multi-sectional form. The first section alternates unison and lush chords. This leads into the second section with the poignant tune in the viola with a solo violin beginning its counter melody less than a half beat later with the lower strings softly pizzicato. The cello takes over for the second half of the verse, and then the viola finishes with the melody of the chorus. The opening material returns leading into the first fugue with the melody taken from the first phrase of the hymn tune. All but the double bass participate in the fugue. A short transitional section precedes a new statement of the chorus with the melody in the violas and cellos. A new fugue begins with the entrances two beats apart in a stretto manner. Unison writing alternating with chords returns before a short coda quotes the first and last phrases of the hymn.
Early American composer, William Billings (1746-1800), wrote the tune Chester with his own patriotic text and it became unofficially national anthem of the American Revolution. In music, he was largely self-taught, a tanner by trade. His New England Psalm-Singer (1770) was the first collection of music entirely by an American
Let tyrants shake their iron rods. And slavery clank her galling chains.
We fear them not, We trust in God. New England's God forever reigns.
The foe comes on with haughty stride, our troops advance with martial noise,
Their veterans flee before our youth, and generals yield to beardless boys
What grateful offerings shall we bring, what shall we render to the Lord,
Loud Hallelujahs let us sing, and praise His name on every chord.
Harbach’s version of Chester for String Orchestra is a three-part form. Churning strings preface the entrance of the melody in the lower strings. This is followed by sharply, syncopated rhythmic patterns in the upper strings. A key change heralds large divisi chords, ending with syncopated chords and a flourish. The following fugue subject, based on the first phrase of the hymn, begins in the viola, with each entrance a fifth higher. A canon between cello and viola leads into the opening materials with the sturdy melody again in the lower strings.
Click to view I. The Morning Trumpet
Click to view II. Chester
Demarest Suite for String Orchestra, Vivace Press, 2009
Echoes of Our Youth begins the suite with lush sonorities and bold statements. Its range of emotions such as insecurity, joy, and nostalgia, are all feelings associated with childhood. Remember the Ladies is a phrase from a letter from Abigail Adams to her husband John Adams. The letter spoke to the fact that John was involved in the freeing of the country and yet, women could not vote or be educated. The seductive tango comes to a quiet close as Mrs. Adams’ plea fell on deaf ears. Joyous Day is the development of a theme from Harbach’s opera, O Pioneers!. In the opera, this theme was used at a joyous wedding and the joy in the theme translates well to strings as the suite comes to a close.
Click to view I. Echoes of Our Youth
Click to view II. Remember the Ladies Tango
Click to view III. Joyous Day for Double String Orchestra
Echoes of Our Youth begins the suite with lush sonorities and bold statements. Its range of emotions such as insecurity, joy, and nostalgia, are all feelings associated with childhood. Remember the Ladies is a phrase from a letter from Abigail Adams to her husband John Adams. The letter spoke to the fact that John was involved in the freeing of the country and yet, women could not vote or be educated. The seductive tango comes to a quiet close as Mrs. Adams’ plea fell on deaf ears. Joyous Day is the development of a theme from Harbach’s opera, O Pioneers!. In the opera, this theme was used at a joyous wedding and the joy in the theme translates well to strings as the suite comes to a close.
Click to view I. Echoes of Our Youth
Click to view II. Remember the Ladies Tango
Click to view III. Joyous Day for Double String Orchestra
Lilia Polka for String Orchestra, Vivace Press, 2009
Kate Chopin (1850-1904) wrote Lilia Polka for piano for her daughter which was published by H. H. Rollman in St. Louis. Polkas were quite popular in the German and German-American communities in St. Louis in 1899. Lilia Polka is a lively, spirited polka showcasing each instrument in the string orchestra.
Click to view Lilia Polka
Kate Chopin (1850-1904) wrote Lilia Polka for piano for her daughter which was published by H. H. Rollman in St. Louis. Polkas were quite popular in the German and German-American communities in St. Louis in 1899. Lilia Polka is a lively, spirited polka showcasing each instrument in the string orchestra.
Click to view Lilia Polka
The Soul of Ra for String Orchestra, Vivace Press, 2008
I. In Memoriam
II. Phoenix Rising
The Soul of Ra has two contrasting movements: In Memoriam and Phoenix Rising. In Memoriam portrays all our lost loves, loved ones and the many war dead. The throbbing pulse of pain alternates with the soaring melody of hope and heart’s ease. Phoenix Rising personifies the indomitable human spirit that transcends loss and this world’s suffering. Amidst our joy there is always a reminder of In Memoriam and the gentle ache of remembrances past.
Click to view I. In Memoriam
Click to view II. Phoenix Rising
I. In Memoriam
II. Phoenix Rising
The Soul of Ra has two contrasting movements: In Memoriam and Phoenix Rising. In Memoriam portrays all our lost loves, loved ones and the many war dead. The throbbing pulse of pain alternates with the soaring melody of hope and heart’s ease. Phoenix Rising personifies the indomitable human spirit that transcends loss and this world’s suffering. Amidst our joy there is always a reminder of In Memoriam and the gentle ache of remembrances past.
Click to view I. In Memoriam
Click to view II. Phoenix Rising
Transformations for String Orchestra, Vivace Press, 2007
I. Pastorale
II. Towards Liberty
III. Re-strain
IV. Commandment
V. For Life
VI. One Out of Many
VII. Profit
VIII. Return
Transformations for String Orchestra began life as string quartet with the same name. The expansion included divided strings and an added double bass part. This eight-movement work for string orchestra was inspired by pioneer director Alice Guy Blache’s 1912 silent film Making an American Citizen. The moods range from nostalgia to agitation to resolution. This haunting score captures a vein of folk America and utilizes the distinctive voice of each instrument.
Click to view I. Pastorale
Click to view 2.Towards Liberty
Click to view 3. Re-strain
Click to view 4. Commandment
Click to view 5. For Life
Click to view 6. One Out of Many
Click to view 7. Profit
Click to view 8. Return
I. Pastorale
II. Towards Liberty
III. Re-strain
IV. Commandment
V. For Life
VI. One Out of Many
VII. Profit
VIII. Return
Transformations for String Orchestra began life as string quartet with the same name. The expansion included divided strings and an added double bass part. This eight-movement work for string orchestra was inspired by pioneer director Alice Guy Blache’s 1912 silent film Making an American Citizen. The moods range from nostalgia to agitation to resolution. This haunting score captures a vein of folk America and utilizes the distinctive voice of each instrument.
Click to view I. Pastorale
Click to view 2.Towards Liberty
Click to view 3. Re-strain
Click to view 4. Commandment
Click to view 5. For Life
Click to view 6. One Out of Many
Click to view 7. Profit
Click to view 8. Return
Frontier Fancies for Violin and Orchestra, Vivace Press, 2007
I. Fiddleflirt
II. Twilight Dream
III. Dancedevil
This exuberant violin concerto features spirited interaction between violin and orchestra. Fiddleflirt is a dual of speed and energy. Twilight Dream is an evocative aria and lush respite before the wild tarantella of Dancedevil.
I. Fiddleflirt
II. Twilight Dream
III. Dancedevil
This exuberant violin concerto features spirited interaction between violin and orchestra. Fiddleflirt is a dual of speed and energy. Twilight Dream is an evocative aria and lush respite before the wild tarantella of Dancedevil.
Arcadian Reverie for String Orchestra, Vivace Press, 2004
Arcadian Reverie begins with a simple setting of the pastoral theme that recurs in many forms from theme with gentle counterpoint to pulsing rhythms and undercurrents. A faster middle section with punctuating, slightly dissonant chords herald the introduction of melodic and rhythmic ostinatos and the melody in 6/8 time. The original theme makes several attempts at disrupting the frolicking fugue before gathering all the string forces into a lush concluding statement.
Click to view Arcadian Reverie
Arcadian Reverie begins with a simple setting of the pastoral theme that recurs in many forms from theme with gentle counterpoint to pulsing rhythms and undercurrents. A faster middle section with punctuating, slightly dissonant chords herald the introduction of melodic and rhythmic ostinatos and the melody in 6/8 time. The original theme makes several attempts at disrupting the frolicking fugue before gathering all the string forces into a lush concluding statement.
Click to view Arcadian Reverie
Rhapsodie Jardine for Oboe and Strings, Vivace Press, 1996
This work vividly evokes a landscape full of lush harmonies and exotic melodic perfumes, a musical vista of resonant colors and aromatic counterpoint. The opening fantasie-like section juxtaposes a minimalistic ostinato pattern in the lower strings with the evocative and expansive melodic line of the oboe. A somewhat askew waltz follows, an off-beat dance with a wry oboe serenading a slightly awry orchestra. A return to the fantasie material follows a brief contrapuntal transition. The fugue, alternating between 6/8 and 9/8, is passed among the strings and soloist. This leads to a plaintive duet between the oboe and cello and a unison statement of the fugal subject bring the piece to the end with a flourish.
Click to view Rhapsodie Jardine
This work vividly evokes a landscape full of lush harmonies and exotic melodic perfumes, a musical vista of resonant colors and aromatic counterpoint. The opening fantasie-like section juxtaposes a minimalistic ostinato pattern in the lower strings with the evocative and expansive melodic line of the oboe. A somewhat askew waltz follows, an off-beat dance with a wry oboe serenading a slightly awry orchestra. A return to the fantasie material follows a brief contrapuntal transition. The fugue, alternating between 6/8 and 9/8, is passed among the strings and soloist. This leads to a plaintive duet between the oboe and cello and a unison statement of the fugal subject bring the piece to the end with a flourish.
Click to view Rhapsodie Jardine
