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Peter Oundjian conducts Barber's Symphony No. 1 and a new work by Joel Thompson, streaming January 20 on Seattle Symphony Live.

FLORENCE PRICE
Andante cantabile from String Quartet No. 2 in A minor
Born: April 9, 1887, in Little Rock, Arkansas
Died: June 3, 1953, in Chicago, Illinois
Work composed: 1935

What to listen for:

• As luscious chords ebb and flow in the accompaniment, the first violins deliver a soulful and heart-wrenching melody.

Tonight’s concert brings a vast array of beautiful music to the Benaroya Hall stage once again, with each work capturing aspects of the American musical tradition while showcasing its own unique identity. Born in Little Rock, Arkansas in 1887, Florence Price was a rarity in the classical music world during her time. As a Black woman, her identity was often a concern throughout her career. She even took measures to mitigate the effects that discrimination might have on her career, going so far as to alter her race on enrollment forms while studying at New England Conservatory. Despite this, Price found success by embracing her culture through her music, eventually becoming the first Black woman to have a work performed by a major U.S. orchestra (her first symphony was staged by the Chicago Symphony Orchestra in 1933). Price is known for taking inspiration from her Black American roots, often incorporating melodies from blues and Negro spirituals in her compositions.

Her String Quartet No. 2 in A minor seamlessly melds themes of African American music with the melodic and stylistic aspects of mid-20th century classical music. The second movement, Andante cantabile, draws on the harmonic trends of the modern classical era by placing sweeping dissonances throughout the blues-inspired melody. This melody includes a brief call and response between the violin and lower strings — a musical device commonly used in African American music and another way Price uses musical influences from her culture in her compositions.

JOEL THOMPSON
To Awaken the Sleeper (Seattle Symphony Co-commission)
Born: 1988
Work composed: 2021
World premiere: August 5, 2021, Boulder, Colorado

What to listen for:

• Thompson’s composition is marked by the words of the late James Baldwin, and despite being decades old, the sentiment of the influential author about the nation's progress and the work that still needs to be done remains relevant. Listen as his words are set perfectly against an oftentimes dissonant piece threaded with familiar patriotic orchestral music, reflecting both turmoil and unrest while also offering glimpses of hope.

Based on the writings of legendary Black writer and activist James Baldwin, Thompson’s To Awaken the Sleeper brings the recent poignant conversations around racial equity to the orchestral stage. Narrator Stephen Newby’s voice permeates the music with Baldwin’s own words about the progress the nation has made and the work that needs to continue. A Seattle Symphony co-commission, the piece fuses Thompson’s experience as a composer with the larger narrative of Black experience Baldwin focused on in his work. “Given the sort of turmoil as it relates to race in our society, Baldwin’s writings were sort of a beacon for me, a source of comfort, a way for me to focus my craft,” Thompson explained in an interview earlier this year. “In the world of classical music, in which my identity is historically marginalized, having a space here in which I can speak and be heard is very important, and Baldwin faced similar obstacles.” Using music to comment on the conditions of larger society is something composers have done for centuries, but these works are not always heard at the time they are most topical. To Awaken the Sleeper is a unique opportunity for aspiration and reflection. “I think you’ll find a lot of those mixed emotions in the piece; there’s a little bit of hope looking forward but also an honest look at where we are right now,” Thompson said. “I really just want people to start thinking about interpersonal relationships and how that plays a role and how we develop this continuing fabric of America.”

SAMUEL BARBER
Symphony No. 1, Op. 9
Born: March 9, 1910, in West Chester, Pennsylvania
Died: January 23, 1981, in New York City, New York
Work composed: 1936
World premiere: December 13, 1936, in Rome, Italy

What to listen for:

• The opening melody in the strings serves as the connective tissue for the entire piece — listen for how it grows and changes throughout.

Growing up in a comfortable, well-rounded environment, Samuel Barber discovered his passion for music quite early on. He grew up in a somewhat musical family (his mother was a pianist, his aunt sang with the Metropolitan Opera, and his uncle was a composer), and he completed his first composition at age 7. Considered a triple prodigy, Barber began attending a youth artist program at the renowned Curtis Institute of Music in Philadelphia at 14, studying voice, piano, and composition. He would go on to spend the next 10 years of his life at Curtis, honing his musical voice and laying the foundation of his musical career. Shortly after graduating, he was awarded the Rome Prize — a study fellowship provided by the American Academy in Rome. It was during his time there that he completed his Symphony No. 1. This symphony soon became his first work to received international acclaim, receiving its U.S. premiere by the Cleveland Orchestra after just one month, followed by several performances at Carnegie Hall the same year. Not only was the symphony’s success beneficial for Barber’s career, but it had a momentous impact for all American composers. In 1937, Barber’s Symphony No. 1, Op. 9 became the first symphonic work by an American composer to be performed at the Salzburg Festival, a prominent music event held in Mozart’s birthplace of Salzburg, Austria.

The work is structured like a condensed version of the traditional four movement symphony, divided into four sections that altogether last about 20 minutes. Likely due to the shortened nature of the piece, Barber establishes the three themes used throughout the entire work within the first few minutes. These themes are then developed throughout the remainder of the piece's first section, twisting into new ideas and playing off one another. Rather than returning to the original theme, as would be customary in a typical symphony, Barber reintroduces the theme as a pared down version of itself in the subsequent fast-paced section of the piece. As a stark contrast, the second theme returns as a slow, calming melody from the oboe with gentle string accompaniment. More of the orchestra rejoins to aid in a slow crescendo that erupts into a combination of all three themes at once. The original theme is finally reintroduced from this climax, and grand brass fanfare marks the end of the piece.

© Dalanie Harris