Concerto in E-flat major, “Dumbarton Oaks”

The trend of neoclassical music emerged in the early 20th century and is generally characterized by a return to Classical and Baroque musical aesthetics with modern twists such as complex harmonic language and unusual rhythms. Stravinsky’s Concerto in E flat for a chamber orchestra of 15 is a prime example of his notorious neoclassicism. In 1936, he was commissioned to write a piece by a wealthy American couple, Robert and Mildred Bliss, in celebration of their 30th wedding anniversary. The piece was composed during Stravinsky’s final stay in France, where he was living in order to be closer to his daughter Ludmilla, who was suffering from tuberculosis. Following Ludmilla’s death – and during what he called “the most difficult time of his life” – Stravinsky turned to Bach’s Brandenburg concertos as musical solace. Bach’s inspiration can be heard throughout the lively and constantly-moving piece. The spirited first movement contains hints of the third Brandenburg concerto as all the instruments interplay jauntily. As a slight contrast, the second movement features the instruments in more soloistic manners, at a walking pace. The concerto rounds out with a witty third movement that starts with marching horns and low strings and ends after plenty of contrapuntal and fugal interactions between the instruments. The piece is played-through, with short, reflective hymnal sections tying the movements together. 

The piece was subtitled “Dumbarton Oaks” after the Blisses’ estate in Washington, D.C., where renowned 20th century conductor and Stravinsky’s friend Nadia Boulanger premiered the piece. – Gabriela Angeles-Paredes