Ludwig van Beethoven
Overture to Coriolan, Op. 62
The Essentials:
Composer: Ludwig van Beethoven (1770–1827)
Composed: 1807
Inspired by: A tragedy by Heinrich Joseph von Collin based on the Roman hero Coriolanus
World premiere: March 1807, Vienna
Key contrast: The hero's uncompromising determination versus the pleas of his family
What to listen for: Forceful opening chords, dramatic conflict between themes, and the unusually quiet ending
Estimated duration: ca. 9 minutes
The Coriolan Overture is one of the most concentrated and dramatically powerful works of Ludwig van Beethoven’s middle period. Composed in 1807, it was written not for Shakespeare’s Coriolanus, but for a play by the Austrian dramatist Heinrich Joseph von Collin based on the Roman hero Coriolanus. Though the play has faded from the stage, Beethoven’s overture remains a concert favorite for its intensity and psychological depth.
The story follows Coriolanus, a brilliant but proud Roman general who, after being exiled from Rome, joins its enemies and threatens the city he once defended. Persuaded by the pleas of his mother and family to abandon his attack, he ultimately sacrifices both honor and life. Beethoven captures this inner conflict through music of stark contrasts and relentless momentum.
The overture opens with two forceful chords, immediately establishing tension and determination. The principal theme is aggressive and restless, reflecting Coriolanus’s uncompromising character. In contrast, a lyrical second theme—often associated with the appeals of his family—offers warmth, compassion, and humanity. Throughout the work, these opposing ideas struggle for dominance.
Unlike many overtures that conclude triumphantly, the Coriolan Overture ends in quiet resignation. The music gradually loses its force, fading into hushed, fragmented phrases that suggest Coriolanus’s defeat—not by an enemy army, but by his own conscience. This subdued ending was unusual for its time and reflects Beethoven’s deep interest in portraying psychological drama through purely instrumental means.
Igor Stravinsky
Suite from Pulcinella
The Essentials:
Composer: Igor Stravinsky (1882–1971)
Ballet composed: 1919–1920
Commissioned by: Sergei Diaghilev for the Ballets Russes
Based on music attributed to: Giovanni Battista Pergolesi and other eighteenth-century composers
Significance: Marks the beginning of Stravinsky's neoclassical period
Character: Comic, elegant, and playful
What to listen for: Familiar-sounding Classical melodies transformed by unexpected harmonies and rhythms
Estimated duration: ca. 22 minutes
With the ballet Pulcinella, composed in 1919–1920, Igor Stravinsky embarked on a bold stylistic transformation that reshaped twentieth-century music. Commissioned by the influential impresario Sergei Diaghilev for his famed Ballets Russes, the ballet marked the beginning of Stravinsky’s “neoclassical” period, a phase characterized by a renewed interest in the forms and clarity of eighteenth-century music.
The idea for Pulcinella arose when Diaghilev proposed that Stravinsky create a ballet based on music then attributed to the eighteenth-century composer Giovanni Battista Pergolesi. Though later scholarship revealed that some of the source material came from other composers, Stravinsky embraced the challenge of reimagining these earlier melodies through a modern lens. Rather than simply orchestrating the original music, he transformed it with unexpected harmonies, rhythmic vitality, and playful twists of character.
The ballet’s story centers on Pulcinella, a mischievous figure from the Italian commedia dell’arte tradition, a theatrical genre featuring stock characters and lively comic situations. Pulcinella’s adventures involve romance, deception, and clever disguises, all treated with humor and lighthearted charm. The music reflects this theatrical spirit, balancing elegance with wit.
The Pulcinella Suite, drawn from the larger ballet, presents a sequence of short movements that evoke the style of Baroque and Classical dance forms. The opening Sinfonia establishes the suite’s distinctive sound world: familiar eighteenth-century melodies framed by crisp rhythms and fresh harmonic colors. Stravinsky preserves the clarity of the original tunes while introducing subtle rhythmic displacements that lend the music a modern edge.
Throughout the suite, listeners encounter a variety of characterful movements, including lively dances, graceful interludes, and expressive solos. Solo instruments frequently step into the spotlight, creating a chamber-like intimacy within the orchestral texture. The composer’s playful approach to harmony—sometimes bending or re-coloring traditional chords—adds a sense of surprise and humor.
Pulcinella proved to be a turning point in Stravinsky’s career. After the bold rhythmic experiments of earlier works such as The Rite of Spring, this new direction demonstrated his ability to reinterpret historical styles with originality and imagination. Today, the suite remains a favorite among orchestras and audiences alike, admired for its elegance, charm, and inventive spirit.
Samuel Barber
Violin Concerto, Op. 14
The Essentials:
Composer: Samuel Barber (1910–1981)
Composed: 1939
Commissioned by: Samuel Fels for violinist Iso Briselli
World premiere: February 7, 1941, Philadelphia
Movements: Three
Signature feature: A lyrical first half followed by a dazzling perpetual-motion finale
What to listen for: Long, singing violin melodies in the first two movements and breathtaking virtuosity in the finale
Estimated duration: ca. 24 minutes
The Violin Concerto by Samuel Barber stands as one of the most esteemed concertos in the twentieth-century repertoire. Composed in 1939, the work was commissioned by industrialist Samuel Fels for his adopted son, the violinist Iso Briselli. Barber, then in his late twenties, had already gained recognition as one of America’s most promising composers, admired for his lyrical gift and expressive depth.
The concerto’s creation involved both artistic ambition and practical challenges. After completing the first two movements, Barber faced criticism from Briselli, who reportedly found the music insufficiently virtuosic. In response, Barber composed a dazzling and technically demanding finale that satisfied the performer’s expectations and completed the concerto’s dramatic arc.
The first movement, marked Allegro, opens with a gentle orchestral introduction that soon yields to the solo violin’s lyrical entrance. The main theme unfolds with sweeping grace, revealing Barber’s characteristic melodic warmth. Rather than focusing solely on virtuosity, the movement emphasizes expressive lyricism, allowing the violin to sing in long, flowing lines. Moments of heightened intensity punctuate the movement, but the overall mood remains expansive and deeply expressive.
The second movement, Andante, provides the emotional heart of the concerto. Introduced by a plaintive oboe melody, the movement creates an atmosphere of introspection and quiet longing. When the solo violin enters, it expands upon this mood with richly expressive phrases that rise to passionate climaxes before settling back into reflective calm. Barber’s orchestration here is restrained and transparent, allowing the solo instrument’s voice to emerge with clarity and intimacy.
The final movement, Presto in moto perpetuo, offers a striking contrast to the lyricism of the earlier sections. Written as a rapid perpetual-motion finale, it demands extraordinary agility from the soloist. The violin races through continuous streams of notes with dazzling precision, while the orchestra provides rhythmic support and flashes of color. The music’s relentless momentum creates a thrilling conclusion, showcasing both technical brilliance and dramatic excitement.
Since its premiere in 1941, Barber’s Violin Concerto has become a cornerstone of the violin repertoire, embraced by performers for its combination of lyrical beauty and virtuosic challenge. Its expressive range—from heartfelt lyricism to electrifying brilliance—demonstrates Barber’s mastery of orchestral writing and his enduring ability to connect with audiences.