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9/11 Memorial Concert Concert Notes

Adagio for Strings is one of the most recognizable pieces of classical
music in the world. Written in 1936 by Samuel Barber as the second movement
music in the world. Written in 1936 by Samuel Barber as the second movement
of his
Behold, already night and shadows taper off of his String Quartet Opus 11, the orchestral version was premiered by Arturo
Toscanini and the NBC Symphony Orchestra in 1938. It has become associated
Light and dawn sparkle and quiver Toscanini and the NBC Symphony Orchestra in 1938. It has become associated
with American periods of national mourning, performed at the funerals of
We humbly beg the Lord through song with American periods of national mourning, performed at the funerals of
Franklin Delano Roosevelt and John F. Kennedy, as well as remembrance events
Our voices pray: Franklin Delano Roosevelt and John F. Kennedy, as well as remembrance events
immediately following the attacks of September 11, 2001. It is also part of the
Though we are guilty, view us with compassion immediately following the attacks of September 11, 2001. It is also part of the
film score for the movie Platoon by Oliver Stone (1986). When the piece had its
Banish anguish, bestow health film score for the movie Platoon by Oliver Stone (1986). When the piece had its
debut by Toscanini on the NBC Radio broadcast, America was still suffering the
Grant us everlasting goodness, debut by Toscanini on the NBC Radio broadcast, America was still suffering the
effects of the Great Depression, and Europe was plummeting into war. Music
give us peace. effects of the Great Depression, and Europe was plummeting into war. Music
critic Alexander J. Morin writes that the music is “full of pathos and cathartic
critic Alexander J. Morin writes that the music is “full of pathos and cathartic
passion” and that it “rarely leaves a dry eye.” The piece has been recorded
passion” and that it “rarely leaves a dry eye.” The piece has been recorded
hundreds of times and is undoubtably the most famous written by Barber,
hundreds of times and is undoubtably the most famous written by Barber,
causing him at one point to lament that “All they ever want to hear is the Adagio.
causing him at one point to lament that “All they ever want to hear is the
I wish they would listen to some of my other music.”
I wish they would listen to some of my other music.”
The Adagio begins with a soft, low note by the first violins. The lower
strings come in two beats after the violins, creating, as Johanna Keller from The
New York Times put it, “an uneasy, shifting suspension as the melody begins a
stepwise motion, like the hesitant climbing of stairs.” The single melodic line
builds largely on an ascending three-note motif, shared by each section except
the double basses. It draws to a dramatic climax that increases in intensity until it
collapses, almost as if the grief can no longer be sustained. After a brief silence, a
short interlude poses as an acceptance of the inevitable before the return to the
original theme, this time doubled by the violas. The final statement of the motif
ends the piece as if it were a deep sigh.
Guest conductor Dr. Allen Hightower directs the Arlington Master
Chorale in the first choral selection of this program, Requiem for the Living. This
powerful and intensely moving composition is written by Dan Forrest, who has
masterfully expanded the concept of the genre of requiems by combining
sections of the traditional requiem mass with non-liturgical sections. It
emphasizes consolation for the living rather than grief and judgment.

Traditionally, the Requiem Mass is celebrated on All Soul’s Day,
November 2, in memory of all the faithful departed. The Roman Catholic Church
has also appointed a Requiem Mass to be celebrated on the day or anniversary
of the death or burial of a Christian. Defined as “any chant, hymn, dirge, or
musical service for the dead,” the dramatic character of the Requiem Mass text
appealed to composers to such an extent that they made the requiem a genre of
its own. The compositions of composers such as Verdi, Berlioz, Brahms, Fauré,
Duruflé, and Mozart are essentially concert pieces, rather than music for actual
funeral services. The name Requiem is taken from the opening Latin words
requiem aeternam (rest eternal) and is used to refer to both the Mass itself and to
the musical settings of the text. In a secular context, the word simply refers to an
act of remembrance.