's First Essay for Orchestra (1938), along with his extremely well-known Adagio for Strings of the same year, brought worldwide recognition after being premiered by maestro and the on November 5, 1938. was known for not championing the composers of the time or American composers and their works. Yet, in , he heard music that matched the beauty and emotion of previous masters.
First Essay for Orchestra by S. Barber preformed by the Coronado High School Symphony Orchestra. Ida Stedman, Orchestra director.
The Symphony Orchestra is composed of students from Band and the String Orchestra.
The EPISD Festival for Orchestra was held on Thursday May 15, 2008 at the "Ross Capshaw Auditorium" Coronado High School in El Paso Texas.
Samuel Barber's Essay for Orchestra, Op
The first section of the Essay for orchestra No. 1 has an elegiac character. The strings begin in a somber mood. The intensity increases toward a first climax and then descends to a desolate fanfare followed by a restatement of the first theme. A scherzo-like section follows in which the rhythm of the lower piano strings plays a prominent part. The tension mounts to reach an intense climax that winds down amidst murmurations of the piano. A new crescendo brings a powerful restatement of the initial theme. Then the music dies out to the lament of distant trumpets.
, along with , a fellow composer and lifelong friend, visited for the first time approximately five years before the famous premiere concert. Here, informed that he intended to conduct one of his works. In spring of 1938, sent to the score for the First Essay for Orchestra along with the Adagio for Strings, hoping that one of them would be chosen for performance. Within months, returned the scores to . included no comments about the works or plans for performance. was bothered by this and did not visit that summer as scheduled. did visit, though, and here informed him that he intended to conduct both of 's compositions. Barber's Essay for Orchestra (later re-titled First Essay for Orchestra following returns to the form in 1942 and 1978) was written in 1937, ostensibly at the behest of Arturo Toscanini, and given its premiere the following year, along with Barber's Adagio for Strings. The Italian cellist-turned-conductor was an unusually keen champion of Barber's music, which contributed significantly to the young composer's early fame and international recognition. The attention and high praise of Artur Rodzinski and Ralph Vaughan Williams also helped to ensure Samuel Barber's early place among the pantheon of distinguished American composers.