Samuel Barber

Britannica Concise Encyclopedia: Samuel Barber

(born March 9, 1910, West Chester, Pa., U.S. — died Jan. 23, 1981, New York, N.Y.) U.S. composer. He studied piano, voice, conducting, and composition at the Curtis Institute. After graduation in 1934, he devoted himself to composition. Barber's style, frequently lyrical and neo-Romantic, proved highly attractive to the public. His works include the popular Adagio for Strings (1936), two Essays for Orchestra (1937, 1942), the opera Vanessa (1957, Pulitzer Prize), and a Piano Concerto (1962, Pulitzer Prize).

For more information on Samuel Barber, visit Britannica.com.

Search unanswered questions...

Browse: Unanswered questions | Most-recent questions | Reference library

5min Related Video: Samuel Barber

Top

Music Encyclopedia: Samuel Barber

Top

(b West Chester, pa,9 March 1910 ; dNew York, 23 Jan 1981). American composer. He studied as a baritone and composer (with Scalero) at the Curtis Institute (1924-32) and while there began to win acclaim with such works as Drover Beach (1931), written for himself to sing with string quartet. His opulent yet unforced Romanticism struck a chord and during the 1930s he was much in demand: his overture The School for Scandal (1933), First Symphony (1936), First Essay (1937) and Adagio (originally the second movement of his String Quartet, 1936) were widely performed, the lyrical, elegiac Adagio remaining a popular classic. In the 1940s he began to include more ‘modern’ features of harmony and scoring. Of his operas, Vanessa (1958), praised as ‘highly charged with emotional meaning’, was more successful than Antony and Cleopatra (1966, for the opening of the new Met).

works:
Dramatic music

2 ballets - Medea (1946), Souvenirs (1953)
3 operas, incl. Vanessa (1958), Antony and Cleopatra (1966)

Orchestral music

The School for Scandal, ov. (1933)
Adagio, str [arr. from Str Qt 2nd movt] (1936)
2 syms. (1936, 1944)
3 Essays (1937, 1942, 1978)
Vn Conc. (1940)
Vc Conc. (1945)
Pf Conc. (1962)

Vocal music

7 choral works, incl. Prayers of Kierkegaard (1954)
12 solo vocal works, incl. Dover Beach, Mez/Bar, str qt (1931)
Knoxville: Summer of 1915, S, orch (1947)
Hermit Songs (1952-3)

Chamber and instrumental music

11 works, incl. Vn Sonata (1931)
Vc Sonata (1932)
Str Qt (1936)
Pf Sonata (1949)

Biography: Samuel Barber

Top

Samuel Barber (1910-1981) was among the leading figures in 20th-century American music and is perhaps best known for his "Adagio for Strings", which has become one of the most recognized pieces in contemporary orchestral music.

Samuel Barber was born on March 9, 1910, in West Chester, Pennsylvania, into a middle-class professional family. His maternal aunt was the well-known singer Louise Homer. Barber's mother was an accomplished pianist, and his own musical studies started early. He began composing at the age of seven. In 1924 he entered the Curtis Institute of Music in Philadelphia, where he remained for nine years, studying composition and piano. He also studied voice, which undoubtedly influenced the cultivation of a strong lyrical style in his musical composition. It was at Curtis that Barber began a lifelong friendship with Gian Carlo Menotti, a newly arrived student from Italy. Although Barber made frequent trips to Europe (as a recipient of the Prix de Rome he spent several years at the American Academy in Rome), he was among the first American composers trained in his own country. The roots of European tradition nevertheless had been assimilated. Except for a brief period of teaching at the Curtis Institute, he maintained his independence, primarily through grants, commissions, and royalties.

Early Works

Barber's music covers a wide range. Vocal works include choral compositions and solo settings with piano, chamber ensemble, and orchestra. Barber set to music the texts of such literary figures as Matthew Arnold, James Joyce, William Butler Yeats, James Agee, Rainer Maria Rilke, and the philosopher SÓren Kierkegaard. Among his orchestral works are three Essays for Orchestra and two symphonies. The performance in 1938 of his first Essay and of his best-known work, Adagio for Strings, with Arturo Toscanini conducting the NBC Symphony Orchestra, won Barber immediate national recognition. Symphony No. 2 was commissioned by the Army Air Forces while Barber served as a corporal during World War II. Three concertos for violin, violoncello, and piano reveal his grasp of instrumental idiomatic virtuosity. He also wrote ballet music for Martha Graham (Medea) and the Ballet Society (Souvenirs).

Operas

It was inevitable that Barber would turn to opera. The Pulitzer Prize-winning Vanessa, with a libretto by Menotti (1958), was commissioned by the Metropolitan Opera, New York City. Limited to a few roles, it is a lyrical work of passionate intensity. Following the success of Vanessa, Barber was honored by another commission, Antony and Cleopatra, adapted from Shakespeare by Franco Zeffirelli, for the opening of the Metropolitan Opera House at Lincoln Center, New York City, in September 1966. This opera is more complex musically and more grandiose in scope and theatricality.

Major Themes and Techniques

It is difficult to classify Barber's style. His early works represent a conservative, traditional style based on European prototypes, and his later, more complex compositions remain outside experimental trends of the period. His structure is tonal, yet the earlier works are more simple and direct. Later works, such as Symphony No. 2, the Piano Sonata, and the Piano Concerto, another Pulitzer Prize winner, are more chromatic and dissonant. Twelve-tone serial technique is used in the Piano Sonata. Barber's instrumental works reveal traditional attitudes toward musical articulation and form. His themes are carefully molded and highly motivic. His contrapuntal texture is strong, and he used canonic, fugal, and ostinato procedures. His various settings for solo voice are very sensitive and expressive, especially in the evocation of youth. A beautiful example is Knoxville: Summer of 1915, derived from Agee's A Death in the Family. Because of his direct expressivity and warm lyricism he is generally regarded as a "neoromantic," but this is a classification of attitude rather than of style.

After a period of artistic inactivity in the 1970s, Barber returned to composing with his Third Essay for Orchestra, which was performed by the New York Philharmonic orchestra in 1980. The premier of a second new work, an oboe concerto, was planned at the time of his death, January 23, 1981, following a long illness.

Biography

An open-hearted yet tough romantic, Samuel Barber was one of the few twentieth century American composers to fight for the primacy of lyricism. In his last decades he seemed to be losing the battle, but by the end of the century Barber had posthumously become one of America's most widely performed and recorded composers. In particular, his emotive Violin Concerto and Adagio for Strings have gained a popularity exceeded only by certain works of Aaron Copland.

Barber entered the Curtis Institute of Music in Philadelphia in 1924, where he met future opera composer Gian Carlo Menotti; the two would become lifelong lovers. Barber was an able pianist and a baritone of some talent, but he was an even more precocious composer. His 1933 Curtis graduation piece, the spirited School for Scandal Overture, has become a beloved concert opener.

Barber developed into America's most enduring composer of art songs; most popular is his tender setting for soprano and chamber orchestra of James Agee's Knoxville: Summer of 1915. Barber had unerring taste in texts, and his literary interests led him to compose some allusive short orchestral pieces. Yet he was particularly adept at writing abstract works, such as Music for a Scene from Shelley. Many of these are in large forms: two symphonies, one string quartet (from which was drawn the Adagio for Strings, first popularized by Arturo Toscanini), an ambitious piano sonata, and one concerto each for violin, cello, and piano. While following traditional formats, they are propelled by a dramatic expressivity that hadn't been fashionable since Sibelius. Equally direct in their emotional content are his three Essays for Orchestra, the second being the best crafted and most acclaimed.

Barber would have seemed an ideal composer for the stage, but he had limited success in that realm. Medea, a 1947 dance score for Martha Graham, has found greater longevity in orchestral excerpts. His 1958 Vanessa garnered him the first of two Pulitzer Prizes (the second was for his Piano Concerto), but, like most other American operas, it quickly dropped out of sight. Barber wrote Anthony and Cleopatra to open the new Metropolitan Opera House in 1966, but critical reaction was so hostile that he produced very little during his remaining 15 years. Barber was too conservative to be fashionable; his harmony could be astringent, but his tonality remained secure, his rhythms were strong and clear, and he was not above writing a good melody. ~ James Reel, All Music Guide

Actor: Samuel Barber

Top

Born: Mar 09, 1910 in West Chester, Pennsylvania
Died: Jan 23, 1981 in New York, New York
Occupation: Actor
Active: '80s-2000s
Major Genres: Drama, War
Career Highlights: Platoon, The Elephant Man, El Norte
First Major Screen Credit: The Elephant Man (1980)

Biography

Barber is often called a neo-Romantic American composer, but he created a distinctive style noted for its rich melodiousness, new approach to tonal harmony, and colorful timbres. Without doubt, his most famous work is the Adagio for Strings (1936) from his String Quartet, Op. 11. This piece has a slowly unfolding melody that is simultaneously sad, comforting, compassionate, and noble. It was played at the funeral of Princess Diana in England. In Oliver Stone's Platoon (1986), Barber's Adagio for Strings (uncredited) slowly fades in at the very beginning as the fresh recruits of Bravo Company, 25th Infantry leave an airplane carrier and walk onto a hot and dusty military airfield in Vietnam in September 1967. They pass wounded men on stretchers and seasoned troops. The emotions of the viewers are immediately gripped by the cognitive dissonance of the music's monumental sadness mixed with the harsh reality of the imagery. The music returns about midway into the film as local village farmers are shot, raped, and battered by American soldiers who burn all the houses. The music underscores an offscreen narrative, in the form of a letter by Chris Taylor (Charlie Sheen) to his grandmother, in which he describes the growing animosity within the platoon. The music expresses desperate tension rather than sadness, as Sergeant Elias (Willem Dafoe) is shown abandoned on the ground, pursued by Viet Cong soldiers, after previously being shot in the jungle by Sergeant Barnes (Tom Berenger) because he told the truth about the murderous raid. Elias holds up his hands in a pleading gesture as the rescue helicopters fly away. After more overwhelming battle action, Sergeant Barnes is shot by one of his men. The music accompanies the final scenes of bodies being dumped into mass graves, and a final monologue delivered by Taylor from a helicopter as he observes first the carnage, then the beautiful hills. Toward the conclusion of David Lynch's insightful and moving The Elephant Man (1980), Barber's Adagio for Strings is heard as the deformed and soulful John Merrick (wonderfully interpreted byJohn Hurt) decides to end his life after being accepted by certain kind people from London society, protected by the London hospital, and freed from the brutishness of his former life. He simply places his body in a fully rested position rather than in the sitting position in which he must normally sleep in order not to cut off his air flow. A cameo of his mother appears floating in a starry sky and her voice is heard saying, "Never, never, nothing will die, the stream flows, the wind blows...." In an episode of the popular Seinfeld television comedy show, Barber's Adagio for Strings bypasses somber contextualization and instead enhances an extended joke: The father of Seinfeld's friend George has a phobia against cooking because he once cooked bad meat for troops in Korea thinking that he could just add a lot of spices and make the food palatable and somehow healthy again. But instead the soldiers are shown in a slow-motion, black-and-white flashback wretching and collapsing in the mess tent in a parody of serious war movie action-in-the-trenches as Barber's score plays. The Adagio for Strings is also heard in the moving Lorenzo's Oil (1992) about a boy's miraculous cure, and El Norte (1983) about Mayans who escape a repressive regime to start a new life in Los Angeles. Other fine works by Barber (e.g., the String Quartet, Op. 27, Essay for Orchestra, the cello and violin concertos, the Capricorn Concerto) offer rich possibilities as film music. ~ "Blue" Gene Tyranny, All Movie Guide

Filmography: Samuel Barber

Top

Platoon

Buy this Movie

El Norte

Buy this Movie

The Elephant Man

Buy this Movie

Wikipedia: Samuel Barber

Top

Samuel Barber, photographed by Carl Van Vechten, 1944

Samuel Osborne Barber II (March 9, 1910 – January 23, 1981) was an American composer of orchestral, opera, choral, and piano music. His Adagio for Strings is his most popular composition and widely considered a masterpiece of modern classical music.

1 Biography
2 Music
3 Notable compositions
4 Quote
5 Notes
6 Reference and further reading
7 External links

Biography

Early years

Barber was born in West Chester, Pennsylvania, the son of Marguerite McLeod (née Beatty) and Samuel LeRoy Barber.^[1] At a very early age, Barber became profoundly interested in music, and it was apparent that he had great musical talent and ability. At the age of nine he wrote to his mother:

“

Dear Mother: I have written to tell you my worrying secret. Now don’t cry when you read it because it is neither yours nor my fault. I suppose I will have to tell it now, without any nonsense. To begin with I was not meant to be an athlete. I was meant to be a composer, and will be I’m sure. I’ll ask you one more thing .—Don’t ask me to try to forget this unpleasant thing and go play football.—Please—Sometimes I’ve been worrying about this so much that it makes me mad (not very).

”

He wrote his first musical at the early age of 7 and attempted to write his first opera at the age of 10. He was an organist at the age of 12. When he was 14, he entered the Curtis Institute, where he studied piano, composition, and voice.

Barber was born into a comfortable, educated, social, and distinguished Irish-American family. His father was a doctor, and his mother was a pianist. His aunt, Louise Homer, was a leading contralto at the Metropolitan Opera and his uncle, Sidney Homer, was a composer of American art songs. Louise Homer is noted to have influenced Barber's interest in voice. Through his aunt, Barber had access to many great singers and songs.

Barber began composing seriously in his late teenage years. Around the same time, he met fellow Curtis schoolmate Gian Carlo Menotti, who became his partner in life as well as in their shared profession. At the Curtis Institute, Barber was a triple prodigy in composition, voice, and piano. He soon became a favorite of the conservatory's founder, Mary Louise Curtis Bok. It was through Mrs. Bok that Barber was introduced to his lifelong publisher, the Schirmer family. At the age of 18, Barber won the Joseph H. Bearns Prize from Columbia University for his Violin Sonata (now lost or destroyed by the composer).

Mid years

From his early to late twenties, Barber wrote a flurry of successful compositions, launching him into the spotlight of the classical music community. Many of his compositions were commissioned or first performed by such famous artists as Vladimir Horowitz, Eleanor Steber, Raya Garbousova, John Browning, Leontyne Price, Pierre Bernac, Francis Poulenc, and Dietrich Fischer-Dieskau. At the young age of 28, Barber's Adagio for Strings was performed by the NBC Symphony Orchestra under the direction of Arturo Toscanini in 1938, along with his first Essay for Orchestra. The Adagio had been arranged from the slow movement of Barber's String Quartet, Op. 11. Toscanini had only very rarely performed music by American composers before (an exception was Howard Hanson's Second Symphony, which he conducted in 1933).^[2] At the end of the first rehearsal of the piece, Toscanini remarked: "Semplice e bella" ("simple and beautiful").

Barber served in the Army Air Corps in World War II, where he was commissioned to write his Second Symphony, a work he later suppressed (and which was resurrected in a Vox recording by the New Zealand Symphony Orchestra conducted by Andrew Schenck). Composed in 1943, the symphony was originally titled Symphony Dedicated to the Air Forces and was premiered in early 1944 by Serge Koussevitsky and the Boston Symphony Orchestra. He revised the symphony in 1947, then destroyed the score in 1964. It was reconstructed from the instrumental parts.^[3]

Barber won the Pulitzer Prize twice: in 1958 for his first opera Vanessa, and in 1963 for his Concerto for Piano and Orchestra.

Later years

Barber spent many years in isolation (eventually diagnosed with clinical depression) after the harsh rejection of his third opera Antony and Cleopatra (which he believed contained some of his best music. "This was supposed to have been my opera!" he said)^{[citation needed]}. The opera was written for and premiered at the opening of the new Metropolitan Opera House on 16 September 1966. After this setback, Barber continued to write music until he was almost 70 years old. Barber's music in his later years would be lauded as reflective, contemplative, but without the morbidity or unhappiness of other composers who knew they had a limited time to live. The Third Essay for Orchestra (1978) was his last major work and critics received it as having all the vigor and imagination of his earlier works.

Barber died of cancer in 1981 in New York City at the age of 70. He was buried in Oaklands Cemetery in his hometown of West Chester, Pennsylvania.^[4]

Achievements and awards

Barber was president of the International Music Council of UNESCO, where he did much to bring into focus and ameliorate the conditions of international musical problems. He was also one of the first American composers to visit Russia (which was then a constituent republic of the Soviet Union). Barber was also influential in the successful campaign of composers against ASCAP, helping composers increase the share of royalties they receive from their compositions. Barber was the recipient of numerous awards and prizes including the Rome Prize (the American version of the Prix de Rome), two Pulitzers, and election to the American Academy of Arts and Letters.

Music

Orchestral music

Barber intensely played and studied the music of Johann Sebastian Bach. He also was an adherent of Johannes Brahms, from whom he learned how to compress profound emotions into small modules of highly charged musical expression (Cello Sonata, 1932). In 1933, after reading the poem "Prometheus Unbound" by Percy Bysshe Shelley, Barber composed the tone poem Music for a Scene from Shelley, Op. 7. In 1935, the work was premiered at Carnegie Hall, and this was the first time the composer heard one of his orchestral works performed publicly. Barber's compositional style has been lauded for its musical logic, sense of architectural design, effortless melodic gift, and direct emotional appeal as evident in Overture to The School for Scandal (1931) and Music for a Scene from Shelley (1933). These characteristics remained in his music throughout his lifetime.

Through the success of his Overture to The School for Scandal (1931), Music for a Scene from Shelley (1933), Adagio for Strings (1938); (First) Symphony in One Movement (1936), (First) Essay for Orchestra (1937) and Violin Concerto (1939), Barber garnered performances by the world's leading conductors — Eugene Ormandy, Dimitri Mitropoulos, Bruno Walter, Charles Münch, George Szell, Artur Rodziński, Leopold Stokowski, and Thomas Schippers.

His compositions would later include characteristics of polytonality (Second Symphony, 1944), atonality (Medea, 1946; Prayers of Kierkegaard, 1954), Twelve-tone technique (Nocturne, 1959 and the Piano Sonata, 1949), and even jazz (Excursions, 1944; A Hand of Bridge, 1959). Although not pathbreaking, Barber's compositions distill an eclectic blend of the "musical currents hovering about in his time". John Corigliano succinctly described Barber's style as "an interesting dichotomy of harmonic procedures — an alternation between post-Straussian chromaticism and often diatonic typical American simplicity."

Among his finest works are his four concertos, one each for Violin (1939), Cello (1945) and Piano (1962), and also the neoclassical Capricorn Concerto for flute, oboe, trumpet and string orchestra. All of these works are extremely rewarding for the soloists and public alike, as all contain both highly virtuosic and extremely beautiful writing, often simultaneously. The latter three have been unfairly neglected until recent years, when there has been a reawakening of interest in the expressive possibilities of these masterpieces.

Piano

Having studied piano at Curtis, Barber composed many piano pieces. The four-piano "bagatelles" Excursions, Op. 20, (1942-44), was his first and only venture into Americana music. Its elements of boogie-woogie, blues, theme and variations on a cowboy song, and hoedown are not typical of Barber's classical and refined music. In 1949, Barber wrote his well received Piano Sonata. The Nocturne for Piano (Hommage to John Field), Op. 33, is another respected piece he produced for the instrument.

Opera

Barber's life partner Gian Carlo Menotti, whom he had met at Curtis, supplied the libretto (text) for Barber's opera, Vanessa. Barber had vocal training and, in 1956, played and sang the score to the Metropolitan Opera's General Manager, Rudolf Bing who accepted and premiered the work in January, 1958. The title role was originally written for Sena Jurinac but she cancelled six weeks before the opening and the role went to Eleanor Steber who has become closely identified with it. "Vanessa" won the 1958 Pulitzer Prize and gained acclaim as the first American "grand" opera. Menotti also contributed the libretto for Barber's chamber opera A Hand of Bridge. Barber's Antony and Cleopatra was commissioned to open the new Metropolitan Opera House at Lincoln Center in 1966. The elaborate production designed by Franco Zeffirelli was plagued with technological disasters; it also overwhelmed and obscured Barber's music, which most critics derided as uncharacteristically weak and unoriginal. This critical rejection of music Barber considered to be among his best, sent him into a deep depression. In recent years, a revised version of Antony and Cleopatra, for which Menotti provided collaborative assistance, proved those critics wrong and has enjoyed some success.

Vocal

With a background deeply rooted in singing (having studied with Emilio de Gogorza), Barber's love of poetry and his intimate knowledge, and appreciation, of the human voice inspired his vocal writing. Barber's most famous vocal compositions, Knoxville: Summer of 1915 (to words by James Agee) and Dover Beach (to words from a Victorian text by Matthew Arnold), were greatly successful and received critical acclaim, making a powerful case for Barber as one of the twentieth century's most accomplished composers for the voice.

In honor of Barber's vast influence on American music, on October 19, 1974 he was awarded the prestigious University of Pennsylvania Glee Club Award of Merit^[5]. This award was established in 1964 "to bring a declaration of appreciation to an individual each year that has made a significant contribution to the world of music and helped to create a climate in which our talents may find valid expression."

In September 1992, soprano Cheryl Studer, baritone Thomas Hampson, the preeminent Samuel Barber pianist John Browning and the Emerson String Quartet were captured by Deutsche Grammophon (catalogue 435 867-2) in the complete songs of Samuel Barber (with the exception of "Knoxville: Summer of 1915") at the Brahms-Saal of the famous Musikverein in Vienna, Austria. The set has become an undisputed classic of American song on record.

Notable compositions

For a full list of works with opus number and some without, see List of compositions by Samuel Barber

Dover Beach (Baritone and String Quartet) (Op. 3, 1931)
The School for Scandal (Overture) (Op. 5, 1931)
Cello Sonata (Op. 6, 1932)
Music for a Scene from Shelley (Op. 7, 1933)
(First) Symphony in One Movement (Op. 9, 1936)
Essay for Orchestra (Op. 12, 1937)
Adagio for Strings (arr. of String Quartet, mov’t 2) (Op. 11, 1938)
Violin Concerto (Op. 14, 1939)
Second Essay for Orchestra (Op. 17, 1942)
Excursions (Op. 20, 1942-44)
Capricorn Concerto (Op. 21, 1944)
Cello Concerto (Op. 22, 1945)
Medea (Ballet) (Op. 23, 1946)
Knoxville: Summer of 1915 (Soprano & Orchestra) (Op. 24, 1948)
Sonata for Piano (Op. 26, 1949)
Hermit Songs (Op. 29, 1953)
Prayers of Kierkegaard (Soprano, Choir & Orchestra) (Op. 30, 1954)
Summer Music for Wind Quintet (Op. 31, 1956)
Vanessa (Opera) (Op. 32, 1957)
A Hand of Bridge (Chamber opera) (Op. 35, 1959)
Toccata Festiva (Organ and Orchestra) (Op. 36, 1960)
Piano Concerto (Op. 38, 1962)

Quote

"How awful that the artist has become nothing but the after-dinner mint of society" – Samuel Barber

Notes

^ Samuel Barber Biography - Discography, Music, Lyrics, Album, CD, Career, Famous Works, and Awards
^ Heyman, Barbara B (1992). Samuel Barber: The Composer and His Music. New York: Oxford University Press. pp. 164. ISBN 0195090586. http://www.amazon.ca/Samuel-Barber-Composer-His-Music/dp/0195090586.
^ Vox Records liner notes
^ Samuel Barber (1910 - 1981) - Find A Grave Memorial
^ "The University of Pennsylvania glee Club Award of Merit Recipients". http://www.dolphin.upenn.edu/gleeclub/MEMBERS_merit.html.

This article needs additional citations for verification.
Please help improve this article by adding reliable references. Unsourced material may be challenged and removed. (January 2008)

Reference and further reading

Samuel Barber, The Composer and his Music by Barbara B. Heyman ISBN 0-19-509058-6. The first book to cover Barber's entire career and all of his compositions.
The Oxford Dictionary of Opera, by John Warrack and Ewan West (1992), 782 pages, ISBN 0-19-869164-5
Voices in the Wilderness: Six American Neo-Romantic Composers by Walter Simmons (Scarecrow Press, 2006) ISBN 0-8108-5728-6

External links

Wikimedia Commons has media related to: Samuel Barber

Biography

Broder, Nathan. Samuel Barber (1910-1981). September 9, 2000.
Wittke, Paul. Samuel Barber. G. Schirmer Inc.
Samuel Osborne Barber. IHAS. PBS.
Smith, Patricia. Barber, Samuel. glbtq.com
Homepage of Capricorn, the French Samuel Barber Society. (In English and French)
(French) A biography of Samuel Barber, from IRCAM's website.

Other

Fyne times, gay and lesbian magazine - Samuel Barber

Audio and Video

This entry is from Wikipedia, the leading user-contributed encyclopedia. It may not have been reviewed by professional editors (see full disclaimer)

Donate to Wikimedia

Copyrights:

		Britannica Concise Encyclopedia. Britannica Concise Encyclopedia. © 2006 Encyclopædia Britannica, Inc. All rights reserved. Read more
		Music Encyclopedia. The Concise Grove Dictionary of Music. Copyright © 1994 by Oxford University Press, Inc.. All rights reserved. Read more
		Biography. © 2006 through a partnership of Answers Corporation. All rights reserved. Read more
		Dictionary of Dance. The Oxford Dictionary of Dance. Copyright © 2000, 2004 by Oxford University Press. All rights reserved. Read more
		Columbia Encyclopedia. The Columbia Electronic Encyclopedia, Sixth Edition Copyright © 2003, Columbia University Press. Licensed from Columbia University Press. All rights reserved. www.cc.columbia.edu/cu/cup/. Read more
		Artist. Copyright © 2009 All Media Guide, LLC. Content provided by All Music Guide ®, a trademark of All Media Guide, LLC. All rights reserved. Read more
		Actor. Copyright © 2009 All Media Guide, LLC. All rights reserved. Read more
		Wikipedia. This article is licensed under the Creative Commons Attribution/Share-Alike License. It uses material from the Wikipedia article "Samuel Barber". Read more

	Antony and Cleopatra (music)
	Knoxville: Summer of 1915
	Cave of the Heart (modern dance)

	Who wrote the lyrics for Samuel Barber's Adagio for Strings? Read answer...
	Who is Brutus the Barber the Barber Beefcake? Read answer...
	If the Barber of Seville shaves everyone but the Barber who shaves the Barber? Read answer...

	Did samuel barber compose any duets for soprano and baritone?
	Did Samuel Barber II have a sister?
	How did samuel osborne barber mother died?

Samuel Barber

Biography

Biography

Contents

Biography

Early years

Mid years

Later years

Achievements and awards

Music

Orchestral music

Piano

Opera

Vocal

Notable compositions

Quote

Notes

Reference and further reading

External links

Biography

Other

Audio and Video