Barber & Beethoven

BARBER: Violin Concerto, Op. 14

 Eunice Keem, violin

 Length: c. 22 minutes 
I. Allegro
II. Andante
III. Presto in moto perpetuo

BEETHOVEN: Symphony No. 3 in E-flat Major, Op.55

Length: c. 22 minutes
      I. Allegro con brio
     II. Adagio Assai
III. Allegro vivace
IIII. Allegro molto 

The performance is approximately 85 minutes including a 20-minute intermission after the second piece

Fun Facts About the Concert

• Eunice Keem is the Associate Concertmaster for the Dallas Symphony Orchestra and is a founding member of Carnegie Mellon University’s Starling Quartet, with whom she toured Costa Rica, China and the United States in their series of concerts and masterclasses 

•  Beethoven’s rage over Napoleon’s self-coronation was so intense that he reportedly scrubbed out Napoleon’s name so hard that he left a hole in the manuscript of his third symphony.  

• Barber wrote his first piece at age 7 and attempted his first opera at age 10. At the age of 14 he entered the Curtis Institute, where he studied voice, piano, and composition. 

Overview

Experience an evening of profound musical storytelling, where Barber’s emotional landscapes and Beethoven’s heroic visions promise to captivate and inspire. 

Samuel Barber’s celebrated Violin Concerto opens the night, featuring Eunice Keem, Associate Concertmaster of the Dallas Symphony Orchestra, as the soloist. Composed in 1939 and commissioned by Philadelphia industrialist Samuel Simeon Fels, this piece is renowned for its striking contrast between lyrical melodies and a frenetic finale. Crafted amidst the serene Pocono Mountains during Barber’s challenging personal circumstances, the first two movements captivate with their melodic beauty, while the finale dazzles with high-speed virtuosity and complex rhythms.  

Beethoven’s revolutionary Symphony No. 3 “Eroica”, a pivotal moment in his career and Western music, comes alive under Maestro Couturiaux’s baton. This symphony marked a bold departure from classical conventions, embracing a new musical language that heralded the dawn of Romanticism. Originally dedicated to Napoleon Bonaparte as Europe’s “liberator,” Beethoven retracted the dedication upon Napoleon’s self-proclamation as Emperor, fearing his tyranny. Published in 1806 as “Heroic Symphony – composed to celebrate the memory of a great man,” it reflects an idealized hero and the spirit of heroism.  

Program Details

SAMUEL BARBER (1910-1981)  

Samuel Barber composed his celebrated violin concerto in 1939, commissioned by Philadelphia industrialist Samuel Simeon Fels for his ward, Iso Briselli, a fellow graduate from the Curtis Institute of Music in 1934. The piece is known for the striking contrast between its lyrical first two movements and the frenetic finale. The initial movements are melodic, with the first lasting about ten minutes and the second around nine. In contrast, the finale is a four-minute, high-speed display of virtuosity, characterized by relentless motion and complex rhythms. 

Barber began work on the concerto in Switzerland, but the outbreak of World War II forced him to return to Pennsylvania. Amidst his father’s serious illness, Barber continued composing in the Pocono Mountains. These circumstances delayed progress, but he delivered the first two movements to Briselli by mid-October, shortly after the original October 1 deadline. 

Despite Briselli’s reservations about the finale, believing a different ending could elevate the concerto’s status, the work eventually gained recognition on its own merits. It premiered in February 1941, performed by Albert Spalding with the Philadelphia Orchestra under Eugene Ormandy, and has become one of the most frequently performed 20th-century concertos. 

LUDWIG VAN BEETHOVEN (1770-1827) 

The composition of Beethoven’s Symphony No. 3, marked a pivotal moment in both his career and Western music. While his earlier symphonies aligned more closely with the classical traditions of Mozart and Haydn, this work introduced a bold, new musical language. Its length defied the conventions of its time, heralding Beethoven’s ‘new path’ in composition. 

Widely considered the dawn of musical Romanticism, the symphony represents a significant departure from classical norms. Originally dedicated to Napoleon Bonaparte, Beethoven aimed to honor him as Europe’s “liberator,” a notion likely suggested by figures such as Marshal Jean-Baptiste Bernadotte or violinist Rodolphe Kreutzer. As an admirer of the ideals of the French Revolution, he saw Napoleon as a figure embodying those principles. However, his disillusionment came when Napoleon declared himself Emperor in 1804. In response, Beethoven angrily removed his name from the title page, believing Napoleon would become a tyrant. 

Published in 1806, it was ultimately titled “Heroic Symphony – composed to celebrate the memory of a great man,” representing an idealized hero and the spirit of heroism itself. 

Beethoven began composing this symphony in 1802 in Heiligenstadt, completing it by May 1804. The first private performance was held at the home of Prince Joseph Franz von Lobkowitz, to whom it was dedicated. The public premiere took place on April 7, 1805, at the Theater an der Wien in Vienna, with Beethoven conducting. 

Guest Artist

Violinist Eunice Keem has established herself as a dynamic and engaging artist, equally compelling as both soloist and chamber musician.  A Chicago native, she attended Carnegie Mellon University for her music studies. After joining the Dallas Symphony Orchestra in September of 2011, she began her new position as Associate Concertmaster in the 2014/15 season.

As a soloist, Keem has been a featured with orchestras such as the Dallas Symphony Orchestra, National Chamber Orchestra, Park Ridge Civic Orchestra, Keweenaw Symphony Orchestra, Eastern Connecticut Symphony Orchestra and Evanston Symphony Orchestra, among others. A winner of numerous competitions, she received first and top prizes at the Irving M. Klein International Competition, Schadt International Competition, Corpus Christi International Competition, Kingsville International Competition, as well as a Paganini Prize at the 7th International Violin Competition of Indianapolis, among others.

As a chamber musician, Keem was a member of the Fine Arts Trio, first place winners of the Fischoff National Chamber Music Competition. They also performed on Chicago WFMT’S “Dame Myra Hess Concert Series” and “Live from Studio One”. Several years later, she again received first prize at the Fischoff National Competition, this time with the Orion Piano Trio. She was also a founding member of Carnegie Mellon University’s Starling Quartet, with whom she toured Costa Rica, China and the United States in their series of concerts and masterclasses,

Keem has participated in the Grand Teton, Lake George, Colorado and Breckenridge Music Festivals. She currently serves as adjunct professor of violin at the University of North Texas.