Barbara Harbach
Symphonies
Symphonies
A State Divided – a Missouri Symphony, Vivace Press 2012
I. Missouri Compromise - a slave state (1820)
II. Skirmish at Island Mound - African-American regiment (October 27-29, 1862)
III. The Battle at Westport - the battle that saved Missouri (October 23, 1864)
A State Divided – a Missouri Symphony for Orchestra contributes to the historiography of Missouri through music inspired by the state’s entrance into the Civil War in 1862. The impetus for the Symphony was the 150th anniversary of the event in 2012.
Each movement represents a major chapter in the history of Missouri’s involvement in the Civil War.
I. Missouri Compromise – a slave state (1820)
Missouri was initially settled by slave-holding Southerners coming up the Mississippi and Missouri rivers. Missouri entered the Union in 1821 as a slave state following the Missouri Compromise of 1820, in which it was agreed that no state north of Missouri's southern border with Arkansas could enter the Union as a slave state. Maine entered the Union as a free state in the compromise to balance Missouri.
II. Skirmish at Island Mound – African-American regiment (October 27-29, 1862)
The Skirmish at Island Mound occurred from Oct. 27 to Oct. 29, 1862, in Bates County, Mo. This Union victory was notable as the first known engagement of an African-American regiment during the Civil War.
III. The Battle at Westport – the battle that saved Missouri (October 23, 1864)
The Battle at Westport was one of the Civil War’s largest battles west of the Mississippi and was fought in October, 1864 with some 30,000 soldiers participating. The Union victory dashed Confederate hopes of occupying Missouri, and the battle has been called “The Gettysburg of the West.”
Click to view I. Missouri Compromise – a Slave State
Click to view II. Skirmish at Island Mound
Click to view III. The Battle at Westport
Click here to hear I. Missouri Compromise - a slave state
Click here to hear II. Skirmish at Island Mound - African-American regiment
Click here to hear III. The Battle of Westport - the battle that saved Missouri
I. Missouri Compromise - a slave state (1820)
II. Skirmish at Island Mound - African-American regiment (October 27-29, 1862)
III. The Battle at Westport - the battle that saved Missouri (October 23, 1864)
A State Divided – a Missouri Symphony for Orchestra contributes to the historiography of Missouri through music inspired by the state’s entrance into the Civil War in 1862. The impetus for the Symphony was the 150th anniversary of the event in 2012.
Each movement represents a major chapter in the history of Missouri’s involvement in the Civil War.
I. Missouri Compromise – a slave state (1820)
Missouri was initially settled by slave-holding Southerners coming up the Mississippi and Missouri rivers. Missouri entered the Union in 1821 as a slave state following the Missouri Compromise of 1820, in which it was agreed that no state north of Missouri's southern border with Arkansas could enter the Union as a slave state. Maine entered the Union as a free state in the compromise to balance Missouri.
II. Skirmish at Island Mound – African-American regiment (October 27-29, 1862)
The Skirmish at Island Mound occurred from Oct. 27 to Oct. 29, 1862, in Bates County, Mo. This Union victory was notable as the first known engagement of an African-American regiment during the Civil War.
III. The Battle at Westport – the battle that saved Missouri (October 23, 1864)
The Battle at Westport was one of the Civil War’s largest battles west of the Mississippi and was fought in October, 1864 with some 30,000 soldiers participating. The Union victory dashed Confederate hopes of occupying Missouri, and the battle has been called “The Gettysburg of the West.”
Click to view I. Missouri Compromise – a Slave State
Click to view II. Skirmish at Island Mound
Click to view III. The Battle at Westport
Click here to hear I. Missouri Compromise - a slave state
Click here to hear II. Skirmish at Island Mound - African-American regiment
Click here to hear III. The Battle of Westport - the battle that saved Missouri
Night Soundings for Orchestra, Vivace Press 2013
I. Cloak of Darkness
II. Notturno
III. Midnight Tango
Cloak of Darkness is the hour of the wolf, between night and light, just before the dawn awakens. It is believed to be the time when demons have intensified power, our nightmares are the most real, and the sleepless are haunted by their deepest fears. The only reality is unreality, and the terrified beating of your own heart.
Notturno opens with luminous and eerie night sounds, twitters and chirps from the dark of night portrayed by the woodwinds over open fifths in the strings. Wisps of sounds and melodies portray the dry whisper of leaves, the rustle of night creatures, and the heaviness of a hot, languid night. Long melodies in the winds are reminiscent of John Field’s haunting nocturnes. Melodies float above the gentle rising movement of the strings. As more instruments enter the melodic fabric, the texture becomes more dissonant as the instruments intertwine and then wander away in the darkness. Serenity and quietness return to the landscape until all is silent as the dawn approaches.
Midnight Tango is an exploration into the dance that originated in the 1890s in the Rio de la Plata in South America, with influences from both the European and African cultures. The dance quickly spread around the world. At this midnight hour, two lovers slowly approach, drawn to music that only they can hear – the midnight tango. They begin to dance in the style of open embrace, softly, slowly and seductively. As the music sinuously builds in volume and energy, more instruments embrace the themes, enticing the lovers to dance in close embrace before driving to the ecstatic, frenetic ending.
Click to view I. Cloak of Darkness
Click to view II. Notturno
Click to view III. Midnight Tango
I. Cloak of Darkness
II. Notturno
III. Midnight Tango
Cloak of Darkness is the hour of the wolf, between night and light, just before the dawn awakens. It is believed to be the time when demons have intensified power, our nightmares are the most real, and the sleepless are haunted by their deepest fears. The only reality is unreality, and the terrified beating of your own heart.
Notturno opens with luminous and eerie night sounds, twitters and chirps from the dark of night portrayed by the woodwinds over open fifths in the strings. Wisps of sounds and melodies portray the dry whisper of leaves, the rustle of night creatures, and the heaviness of a hot, languid night. Long melodies in the winds are reminiscent of John Field’s haunting nocturnes. Melodies float above the gentle rising movement of the strings. As more instruments enter the melodic fabric, the texture becomes more dissonant as the instruments intertwine and then wander away in the darkness. Serenity and quietness return to the landscape until all is silent as the dawn approaches.
Midnight Tango is an exploration into the dance that originated in the 1890s in the Rio de la Plata in South America, with influences from both the European and African cultures. The dance quickly spread around the world. At this midnight hour, two lovers slowly approach, drawn to music that only they can hear – the midnight tango. They begin to dance in the style of open embrace, softly, slowly and seductively. As the music sinuously builds in volume and energy, more instruments embrace the themes, enticing the lovers to dance in close embrace before driving to the ecstatic, frenetic ending.
Click to view I. Cloak of Darkness
Click to view II. Notturno
Click to view III. Midnight Tango
Gateway Festival Symphony, Vivace Press 2013
I. Confluencity
II. Sunset: St. Louis
III. After Forever
The Gateway Festival Symphony, commissioned by the Gateway Festival Orchestra for their 50th Jubilee Anniversary in 2013, is written for and dedicated to Dr. James Richards and the Gateway Festival Orchestra.
I. Confluencity depicts the confluence of the Missouri and Mississippi rivers with the ebb and flow of two rivers playing and colliding, producing turbulence in early spring with melting snows and winds that whip the waters into a dangerous, dramatic frenzy. Other themes portray the waters as calm, with sparkling serenity. The themes interact, alternate and fuse before coming to the affirmation that the rivers will always be a life source.
II. Sunset: St. Louis was inspired by the St. Louisan Sara Teasdale and her poem, Sunset: Saint Louis. The themes reflect the structure and majesty of the city’s natural and historic monuments coupled with the city’s myriad cultural influences. The movement begins with the slow languidness of the hot St. Louis summers. A slow tango intertwines with a rippling water theme.
III. After Forever begins with a dramatic trumpet call-to-arms, reminding us of the struggle that Dred and Harriet Scott waged to win their independence. Their struggle helped catapult the United States into the Civil War. Of all the states, Missouri was the third in recorded battles and engagements, and that does not take into account the unrecorded guerilla warfare, which defined so much of the state’s involvement. This movement reflects the pivotal role Missouri played in the Civil War, and the lasting, enduring strength of its people.
Click to view I. Confluencity
Click to view II. Sunset: St. Louis
Click to view III. After Forever
I. Confluencity
II. Sunset: St. Louis
III. After Forever
The Gateway Festival Symphony, commissioned by the Gateway Festival Orchestra for their 50th Jubilee Anniversary in 2013, is written for and dedicated to Dr. James Richards and the Gateway Festival Orchestra.
I. Confluencity depicts the confluence of the Missouri and Mississippi rivers with the ebb and flow of two rivers playing and colliding, producing turbulence in early spring with melting snows and winds that whip the waters into a dangerous, dramatic frenzy. Other themes portray the waters as calm, with sparkling serenity. The themes interact, alternate and fuse before coming to the affirmation that the rivers will always be a life source.
II. Sunset: St. Louis was inspired by the St. Louisan Sara Teasdale and her poem, Sunset: Saint Louis. The themes reflect the structure and majesty of the city’s natural and historic monuments coupled with the city’s myriad cultural influences. The movement begins with the slow languidness of the hot St. Louis summers. A slow tango intertwines with a rippling water theme.
III. After Forever begins with a dramatic trumpet call-to-arms, reminding us of the struggle that Dred and Harriet Scott waged to win their independence. Their struggle helped catapult the United States into the Civil War. Of all the states, Missouri was the third in recorded battles and engagements, and that does not take into account the unrecorded guerilla warfare, which defined so much of the state’s involvement. This movement reflects the pivotal role Missouri played in the Civil War, and the lasting, enduring strength of its people.
Click to view I. Confluencity
Click to view II. Sunset: St. Louis
Click to view III. After Forever
Jubilee Symphony, Vivace Press 2012
I. Bellerive
II. Mirth Day Fiesta
III. Tritons Ascending
Jubilee Symphony was commissioned by the University of Missouri–St. Louis for their 50th Jubilee Anniversary, 1963-2013. The symphony was premiered October 9, 2013.
The first movement, Bellerive, takes its name from the beautiful Bellerive Country Club which became the location for the university. The first building on the campus was the club house. The excitement of creating this new educational institution is portrayed by rhythmic energy and long soaring and sustained melodies. A fugue evolves from these opening materials to become a conversation among the many partners that were needed to realize this dream. The euphoria of this actually happening is based on a lively jig before the rhythmic energy and melodies return.
Mirth Day Fiesta is unique to the university – a day of celebration, showcasing many cultures and ethnicities. The day dawns quietly, slowly building to a Mexican Cinco de Mayo party with a flavor of Mariachi music. Dance-like rhythms and playful flourishes by the winds exhaust the revelers, returning to the quietness of the opening, but the seductive rhythms and melodies draw the dancers into merriment once again.
The mascot of the University of Missouri-St. Louis is the mythological Greek god, messenger of the sea, Triton. Like his father, Poseidon, Triton carried a trident. Tritons Ascending returns to the sea, beginning dark and mysterious like the deep recesses of the ocean. Slowly rising, swelling and ebbing, the melodies lead to the fugal section in the strings with countermelodies in the winds, all contributing to the surging and fast moving motion in the strings. The musical mood becomes noble and stately, with the low brass bringing Triton to the surface of the waters. The melodies and harmonies combine to bring Triton to the 50th Jubilee Anniversary celebration.
Click to view I. Bellerive
Click to view II. Mirth Day Fiesta
Click to View III. Tritons Ascending
I. Bellerive
II. Mirth Day Fiesta
III. Tritons Ascending
Jubilee Symphony was commissioned by the University of Missouri–St. Louis for their 50th Jubilee Anniversary, 1963-2013. The symphony was premiered October 9, 2013.
The first movement, Bellerive, takes its name from the beautiful Bellerive Country Club which became the location for the university. The first building on the campus was the club house. The excitement of creating this new educational institution is portrayed by rhythmic energy and long soaring and sustained melodies. A fugue evolves from these opening materials to become a conversation among the many partners that were needed to realize this dream. The euphoria of this actually happening is based on a lively jig before the rhythmic energy and melodies return.
Mirth Day Fiesta is unique to the university – a day of celebration, showcasing many cultures and ethnicities. The day dawns quietly, slowly building to a Mexican Cinco de Mayo party with a flavor of Mariachi music. Dance-like rhythms and playful flourishes by the winds exhaust the revelers, returning to the quietness of the opening, but the seductive rhythms and melodies draw the dancers into merriment once again.
The mascot of the University of Missouri-St. Louis is the mythological Greek god, messenger of the sea, Triton. Like his father, Poseidon, Triton carried a trident. Tritons Ascending returns to the sea, beginning dark and mysterious like the deep recesses of the ocean. Slowly rising, swelling and ebbing, the melodies lead to the fugal section in the strings with countermelodies in the winds, all contributing to the surging and fast moving motion in the strings. The musical mood becomes noble and stately, with the low brass bringing Triton to the surface of the waters. The melodies and harmonies combine to bring Triton to the 50th Jubilee Anniversary celebration.
Click to view I. Bellerive
Click to view II. Mirth Day Fiesta
Click to View III. Tritons Ascending
A State Divided – a Missouri Symphony, Vivace Press 2012
I. Missouri Compromise - a slave state (1820)
II. Skirmish at Island Mound - African-American regiment (October 27-29, 1862)
III. The Battle at Westport - the battle that saved Missouri (October 23, 1864)
A State Divided – a Missouri Symphony for Orchestra contributes to the historiography of Missouri through music inspired by the state’s entrance into the Civil War in 1862. The impetus for the Symphony was the 150th anniversary of the event in 2012.
Each movement represents a major chapter in the history of Missouri’s involvement in the Civil War.
I. Missouri Compromise – a slave state (1820)
Missouri was initially settled by slave-holding Southerners coming up the Mississippi and Missouri rivers. Missouri entered the Union in 1821 as a slave state following the Missouri Compromise of 1820, in which it was agreed that no state north of Missouri's southern border with Arkansas could enter the Union as a slave state. Maine entered the Union as a free state in the compromise to balance Missouri.
II. Skirmish at Island Mound – African-American regiment (October 27-29, 1862)
The Skirmish at Island Mound occurred from Oct. 27 to Oct. 29, 1862, in Bates County, Mo. This Union victory was notable as the first known engagement of an African-American regiment during the Civil War.
III. The Battle at Westport – the battle that saved Missouri (October 23, 1864)
The Battle at Westport was one of the Civil War’s largest battles west of the Mississippi and was fought in October, 1864 with some 30,000 soldiers participating. The Union victory dashed Confederate hopes of occupying Missouri, and the battle has been called “The Gettysburg of the West.”
Click to view I. Missouri Compromise – a Slave State
Click to view II. Skirmish at Island Mound
Click to view III. The Battle at Westport
I. Missouri Compromise - a slave state (1820)
II. Skirmish at Island Mound - African-American regiment (October 27-29, 1862)
III. The Battle at Westport - the battle that saved Missouri (October 23, 1864)
A State Divided – a Missouri Symphony for Orchestra contributes to the historiography of Missouri through music inspired by the state’s entrance into the Civil War in 1862. The impetus for the Symphony was the 150th anniversary of the event in 2012.
Each movement represents a major chapter in the history of Missouri’s involvement in the Civil War.
I. Missouri Compromise – a slave state (1820)
Missouri was initially settled by slave-holding Southerners coming up the Mississippi and Missouri rivers. Missouri entered the Union in 1821 as a slave state following the Missouri Compromise of 1820, in which it was agreed that no state north of Missouri's southern border with Arkansas could enter the Union as a slave state. Maine entered the Union as a free state in the compromise to balance Missouri.
II. Skirmish at Island Mound – African-American regiment (October 27-29, 1862)
The Skirmish at Island Mound occurred from Oct. 27 to Oct. 29, 1862, in Bates County, Mo. This Union victory was notable as the first known engagement of an African-American regiment during the Civil War.
III. The Battle at Westport – the battle that saved Missouri (October 23, 1864)
The Battle at Westport was one of the Civil War’s largest battles west of the Mississippi and was fought in October, 1864 with some 30,000 soldiers participating. The Union victory dashed Confederate hopes of occupying Missouri, and the battle has been called “The Gettysburg of the West.”
Click to view I. Missouri Compromise – a Slave State
Click to view II. Skirmish at Island Mound
Click to view III. The Battle at Westport
One of
Ours-A Cather Symphony, Vivace Press 2004
I. On Lovely Creek
II. Autumn in Beaufort
III. Honor at Boar’s Head
One of Ours is based Cather’s 1922 Pulitzer Prizewinner about a World War I hero Claude Wheeler from central Nebraska. On Lovely Creek is an American pastorale, evoking Claude’s youth on the Great Nebraska Prairie and the innocence of a youngish America just beginning to face the tragedies of the twentieth-century. Autumn in Beaufort is a charming interlude in the War, the celebration of a town newly liberated from the Germans. The dead have been buried and honored, and those who remain savor the small joys of life. Honor at Boar’s Head is a remembering of the life and service of the many thousands of war dead whose bravery and self-sacrifice ensures the many freedoms we enjoy.
Click to view On Lovely Creek.
Click to view Autumn in Beaufort.
Click to view Honor at Boar’s Head.
I. On Lovely Creek
II. Autumn in Beaufort
III. Honor at Boar’s Head
One of Ours is based Cather’s 1922 Pulitzer Prizewinner about a World War I hero Claude Wheeler from central Nebraska. On Lovely Creek is an American pastorale, evoking Claude’s youth on the Great Nebraska Prairie and the innocence of a youngish America just beginning to face the tragedies of the twentieth-century. Autumn in Beaufort is a charming interlude in the War, the celebration of a town newly liberated from the Germans. The dead have been buried and honored, and those who remain savor the small joys of life. Honor at Boar’s Head is a remembering of the life and service of the many thousands of war dead whose bravery and self-sacrifice ensures the many freedoms we enjoy.
Click to view On Lovely Creek.
Click to view Autumn in Beaufort.
Click to view Honor at Boar’s Head.
Veneration
for Orchestra, Vivace Press 2004
I. Blessings: Gift of Blood
II. Charity – Caress
III. Grace: Pleasure Heart
The first movement, Blessings: Gift of Blood, features flowing melodies, pulses of rhythm and energy, and alternating currents of intensity and release. Charity – Caress is an idyll, a tender evocation that began life as a work for cello and voice. The fugal and imitative elements reflect those intertwined voices in a dialogue both intimate and playful. Grace: Pleasure Heart is a rondo for orchestra, beginning with a yearning theme reminiscent of the first movement and a relentlessly driving undercurrent and percussive piano part. The next section features contrapuntal interplay based on an expansive rising melody. After a brief return of the opening material, these elements are combined in a spirited frolic.
Click to view Blessings: Gift of Blood
Click to view Charity – Caress
Click to view Grace: Pleasure Heart
I. Blessings: Gift of Blood
II. Charity – Caress
III. Grace: Pleasure Heart
The first movement, Blessings: Gift of Blood, features flowing melodies, pulses of rhythm and energy, and alternating currents of intensity and release. Charity – Caress is an idyll, a tender evocation that began life as a work for cello and voice. The fugal and imitative elements reflect those intertwined voices in a dialogue both intimate and playful. Grace: Pleasure Heart is a rondo for orchestra, beginning with a yearning theme reminiscent of the first movement and a relentlessly driving undercurrent and percussive piano part. The next section features contrapuntal interplay based on an expansive rising melody. After a brief return of the opening material, these elements are combined in a spirited frolic.
Click to view Blessings: Gift of Blood
Click to view Charity – Caress
Click to view Grace: Pleasure Heart
