In 1941, the Philadelphia Orchestra premiered a new violin concerto by West Chester-born composer Samuel Barber.
The piece is now considered one of the finest violin concertos of the 20th century.
As part of its 125th anniversary celebration, the orchestra is revising works that premiered in its history.
They will be performing Barber’s concerto, along with Mahler’s 4th Symphony, during shows Jan 9 to 11 at the Marian Anderson Hall inside the Kimmel Center for the Performing Arts.
Tickets and more information are available at https://philorch.ensembleartsphilly.org/tickets-and-events/2025-26-season/mahlers-symphony-no-4.
Guest violinist Augustin Hadelich will be performing the Barber concerto along with the orchestra.
“The first time I ever performed it, I found it to be quite nerve wracking,” said Hadelich, who is one of the most accomplished violinists alive. “Now, I find it’s exhilarating. The last movement and the perfect contrast to the rest, because you never want the movements to feel too much alike. It’s wonderful when a composer provides a contrast like this.”
Hadelich is a Grammy-winning Italian-German-American violinist known for his technique, interpretations and tone. He has played all over the world with the greatest orchestras. He is looking forward to taking the stage with the Philadelphia Orchestra.
“I also know a lot of the players from even before (he debuted in Philadelphia in 2013),” Hadelich said. “I studied with or played music somewhere with them. It’s a happy feeling to see everyone.
“I appreciate the warmth of the string sounds (of the Philadelphia Orchestra) and also there’s a certain flexibility they have, and it feels like there’s a direct connection they have with me. It doesn’t always have to go via the conductor. Some things just happen directly and it’s all really good.”
Ukrainian-born Finnish conductor Dalia Stasevska will step behind the podium to lead this concert.
Samuel Barber’s Violin Concerto is often described as a piece with two faces: tender and lyrical at first, then suddenly sharp and restless at the end. It combines beautiful, singable melodies with a thrilling, high-speed ending, making it both moving and exciting without feeling old-fashioned or obscure.
“I have a great time in the last movement,” said Hadelich. “In a way, it’s much more modernist, but it also references fiddling patterns. The second movement is just so unbelievably beautiful. I feel I’m in a dream when I play it. That’s just really the thing I think I look forward to the most. It just sort of carries you away when that’s finished. Then there’s like a feeling of, ‘OK, get it together now.’
“It’s quite short, the last movement, but very relentless,” Hadelich said. “It starts right away and you have to be suddenly hyper-focused. It’s a very different mindset you need to have for the last movement. It asks for technical skills that are not asked for in the other two movements. Suddenly you need to play totally differently.”