Violin Concerto, Op. 14

The concerto unfolds in three movements.

I. Allegro opens with the violin singing a broad, warm melody almost immediately, over gentle orchestral support, before a second theme, introduced by the clarinet, adds a touch of wistfulness; the movement stays lyrical rather than showy, with the soloist weaving long, arching lines.

II. Andante is the emotional center, begun by a slow oboe solo that the violin then takes up and expands, building to a searching, impassioned climax before receding into calm.

III. Presto in moto perpetuo is a total change of character, the violin racing in near-continuous, rapid-fire sixteenth notes from start to finish, with barely a breath to spare; listeners often notice how the orchestra recedes to let the soloist's stamina and precision take center stage. The finale lasts only a few minutes but is famous for its relentless motion, a real test of a violinist's endurance and clarity. Across the three movements, the shift from song to speed is the piece's central drama: two movements of unhurried melody give way to one of pure, driving momentum, a contrast first-time listeners will feel immediately.

Barber wrote the concerto in 1939 on commission from businessman Samuel Fels for his ward, violinist Iso Briselli. According to accounts passed down over the years, Briselli found the first two movements too lyrical and the finale too difficult and sparse, and the commission was not completed as planned. The concerto instead received its premiere with the Philadelphia Orchestra in 1941, with Albert Spalding as soloist and Eugene Ormandy conducting. It quickly entered the repertoire and has since become one of the most frequently performed American violin concertos, valued by violinists for its balance of songful melody and virtuosic display, and by audiences for its directness and warmth.