Furthermore, the essay is practically monothematic, with the matter of the second part derived from the opening. The first part has one of those genius memorable themes which Barber seemed to produce as casually as he would a Dunhill cigarette case. Of course it cost him - the limited size of his output, if nothing else, indicates that. The second part presents a rhythmically condensed and electrified version of the first theme in a scherzo passage. The composer combines the two forms of the theme at the end.
Most performances get the lyrical part of the piece, but miss the strongly rhythmic second part.
Hard to believe, but most conductors mess it up, usually by a too-slow tempo or a warm and fuzzy articulation. The Second Essay, completed four years later in 1942, shows an incredible formal, orchestration, and harmonic advance over the First. Again, the work is, to all intents and purposes, monothematic, with everything generated from the opening bars. The theme itself is more angular than one normally associates with Barber, but this angularity becomes typical of the composer from the 40s on. Still, the theme seems tamed to Barber's strong lyrical impulse.