GIL SHAHAM & BBCSyO DAVID.ROBERTSON dir. BARBER Violin Concerto LIVE

Barber goes on to say that "While it was Iso's complete right not to accept a work he finds unsuitable," he feels he does deserve to be paid something considering that he had worked four months entirely on the concerto and "has done his best in submitting a work for which he makes absolutely no apology." He appeals to Fels' "understanding and generosity" that he be allowed to keep the $500 advance, which he believes is standard practice "when a commissioned work is not accepted by the commissioner."[9] Fels does say in his December 15 letter to Barber that the matter would most likely be settled "satisfactorily" for both parties. Meiff replies on December 26 with a lengthy two-page letter[10] outlining to Fels, "point by point," the many reasons why the piece is deficient—thus arming Fels with the information he needed to be able to speak intelligently to Barber. He explains: it "hasn't got enough backbone-- not strong, not majestic--does not contain enough dramatic moments, all of which make for a successful performance." He says it is not a piece for a great hall with a huge orchestra "...like placing a small basket of dainty flowers among tall cactus in a vast prairie;" he says it lacks an effective beginning and a typical violin technique. And specifically addressing the finale: "It was a dangerous thought from the very beginning, to make a perpetual motion movement ...without a breath of rest and without melodic parts...a risky tiresome ending...it was a wrong idea, and Mr. Barber should admit this." Meiff therefore felt it his duty "to advise Iso not to do it." On the positive side, he acknowledges that "...it has many beautiful parts" and that he has "personal admiration for the composer for himself personally and musically. (Wikipedia)