An Insight Into Samuel Barber's Adagio For Strings by Bjorn Shen

What key musical elements in Samuel Barbers Adagio have led to its frequent adoption as a poignant,
affecting soundtrack associated with grief?
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An Insight Into Samuel

Barbers Adagio For Strings
What key musical elements in Samuel Barbers Adagio
have led to its frequent adoption as a poignant, affecting
soundtrack associated with grief?
Bjorn Shen
2014
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Abstract:
What key musical elements in Samuel Barbers Adagio have led to its frequent adoption
as a poignant affecting soundtrack associated to grief?
The aim of this essay is to explore specific aspects that contribute to the Adagios
association with grief and consider if it was Barbers intention to do so. The essay is
centralized around analysis of the score along with research into other similar pieces of
emotive music. An interview was also conducted with philosopher David Elliot to gain
further insight.
The first section focuses on the Adagios simplicity to create poignancy through analysis
of Barbers use of Bb as a constant throughout the piece, the construction of melody, and
the arch-form structure. This is supported by analysis into pieces that use similar
techniques and share the theme of tragedy. For instance, research discovered links
between Purcells use of descending chromatic scales and Barbers use of descending
melodies, which both fail to reach tonic resolution, evoking the theme of hopelessness.
The second section of this essay delves into the Adagios final imperfect cadence and
analyzes its significance to the overall theme of grief. The section then considers Barbers
choice of strings and use of extensive range to induce different timbres how this
influences the mood of the piece. This focuses especially on Barbers use of high range in
in the climax, which evokes a harsh, stringent tone associable to an outcry.
The overall research concluded that the pieces associated pathos is induced by a
combination of elements such as Barbers exploitation of tension caused by suspensions
and dissonance, his use of Bb as a constant, his choice of instrumentation and his
manipulation of range to create different timbres.
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Contents:
Page
Introduction
Chapters:
1. The Art of Simplicity
1.1 A Single Note
1.2 Melody
1.3 Structure
5
9
14
2. Atmosphere
2.1 The Imperfect Cadence
2.2 Instrumentation
2.3 Timbre
22
23
25
Conclusion
27
Bibliography
28
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Introduction:
Samuel Barbers Adagio For Strings is arguably the most evocative piece of 20th century
American music ever written. Since its world premiere in 1938 by Italian conductor
Arturo Toscanini, it has frequently been adopted for occasions of mourning for example
for the deaths of Albert Einstein, Princess Grace of Monaco and John F. Kennedy.
Famous classical musician Alexander J. Morin wrote that it rarely leaves a dry eye 1.
In modern society, the piece has constantly been adapted for tragic moments in films
such as: The Elephant Man, Reconstruction, Platoon and Amelie. An entire book by
Thomas Larson has even been written about the Adagio, regarding it in the tile as the
saddest music ever written 2.
When I interviewed musician, philosopher and professor David Elliot, he compared the
musical elements - instrumentation, melody, harmony, and rhythmic devices - used in
composition to the paints on an artists palette. In both cases, whether it is a painter
choosing colors or a composer choosing sounds (or silence), the artists aim to evoke a
response in the listener. 3 Barbers true intention behind the Adagio is uncertain. No one
will know exactly what Barber was trying to convey however the Adagio contains many
musical characteristics that seize it associated with grief.
This essays aim is to investigate why the Adagio is associated with poignancy by
discerning and analyzing musical devices that contribute to the Adagios emotive mood.
The first section focuses on the simplicity of the Adagio while the second section
explores the final imperfect cadence and musical elements like timbre and
instrumentation.
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1"Morin, Alexander Classical Music: Third Ear: The Essential Listening Companion. (2001). Backbeat
Books. p. 74."
2"Larson, Thomas The Saddest Music Ever Written: The Story of Samuel Barber's "Adagio for Strings".
(2010). Pegasus Books.
3"Elliot, David. A Composer's Intention. Personal interview. Beijing, 17 June 2014."
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1.1 The Art of Simplicity A Single Note
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The Adagio opens with a Bb played by the 1st Violins in pianissimo, which immediately
forces the listener to engage with the piece (m.1, Fig. 1a4). The 1st Violins are in a middle
range and play the Bb in a cantando manner introducing the note with a pure and tender
quality. The listener is drawn in as the lingering single note in pianissimo expressively
crescendos. This is a slow process, as the one note seems to last for eternity emphasized
by the violins (m.1) playing in a slow legato, giving the sense that the opening Bb is
hopeless, or even emotionless.
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4"Barber, Samuel. Adagio For Strings Op.11. 1936. New York. 1939. by G. Schirmer, Inc."
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The mood is ambiguous as the Bb lingers in a void. However, Barber allows the Bb to
crescendo until it is joined by the rich chord of Ebm7 (m.1, Fig. 1a5) shifting the mood
into a state of melancholy as Bb becomes the 5th of the chord. This melancholy is further
established once the dominant chord F enters (m.2), creating harmonic tension, as the
Bb becomes a dissonant note, clashing with the A. It then resolves down a semitone
creating relief. The 4-3 suspension creates anticipation for resolution and sets out the
harmonic language for the rest of the piece.
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A similar tension-resolution effect can be heard in the opening of Crucifixus by Lotti
from the Renaissance period as a stimulus to create emotional strain (Fig. 1b6). The piece
opens with Bass 2, introducing the motif Eb, C then G. The motif is imitated except Bass
1 leaps to Ab (m.3) creating unease because of the clash between Ab and G, then acts as a
suspension downwards to D resolving at measure 4. The dissonance created by the clash
portrays a sense of agony of the crucifixion of Christ.
Fig.%1b%6%Crucifixus%by%Lotti%mm.%165
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6"Lotti, Antonio. Crucifixus. n/d. New York. 1899, by G. Schirmer Inc.
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At the climax of the piece, the opening pianissimo Bb is brought back and played in full
fortissimo at the tip of the violins range (Fig.1c7, mm. 49-50). The note is struck over 4
chords Bbm6b, Gb major, Ebm7 and E major at the peak of the orchestras range creating
a climatic outcry of emotion (See Fig.1d7). The first chord, Bbm6b, creates harmonic
tension as the flat 6th in the chord, Gb, clashes with F. In beat 5 measures 49, Gb resolves
and becomes the root of Gb major. Eb then appears in beat 5 measure 50, causing the Gb
major to shift into an Eb minor 7th chord. The last chord E Major provides a final purging
effect. The shifts between minor and major portray the pieces erratic state.
Fig.%1c%7%Barbers%Op.11,%Adagio%mm.47653
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Fig.%1d%7%Barbers%Op.11,%Adagio%mm.49652
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The climax acts as release. Emotions start softly with the opening Bb and build
throughout the entirety of the piece until no longer containable. At this point all emotion
breaks loose, as Bb is struck at the peak of the violins range over 4 different chords. The
last E Major acts as liberation for all the grief held inside throughout the entire piece.
There is a pause (m.52) for re-composure, then the piece returns to the opening note Bb
bringing back the tender expression of affection and warmth (m.53).
Barbers treatment of the Bb is one factor that contributes to the pieces associated
poignancy; Bb is the one constant returning factor throughout the whole Adagio as
different textures and timbres are introduced. Perhaps Bb is the comfort Barber intended?
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1.2 The Art of Simplicity Melody
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Behind all the emotion, the piece is clearly calculated.8 The first melody phrase is a
simple ascending sequence of 3 notes: fundamentally, A ! Bb ! C, repeat, up a step to
Bb ! C !Db, repeat, up another step to C ! Db ! Eb, then down to C (see Fig. 2a9).
Contrary to the theme of grief, the motif can be inferred as uplifting because of its
ascending nature: an ascending sequence made up of 3-note-ascending patterns.
Although the contour of the melody can be described as uplifting, it can also be described
as reaching. The melody is always reaching for a tonic resolution, but never quite
makes it there. Instead the Eb (m.3), which the melody finally reaches, falls back down to
C establishing an Ab major (the leading note in the tonic key). The reaching melody falls
short by one note, unresolved, representing a sense of hopelessness.
Fig.%2b%9%Barbers%
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Following the ascending phrase is a descending melodic line that further supports the
theme of hopelessness. The second phrase is an imitation of the opening motif, but
instead of ascending, the melody gives up on the tonic and descends to middle C, the
lowest note introduced so far (Fig. 2b9). The listener is yearning for the tonic but Barber
deliberately forces the persistent melody to tumble into a miserable downfall to C, a note
above the tonic Bb. This resembles the emotional state at a tragic event: the persistent
fight against emotions, the redemption of dejection, and the plummet into despair.
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8"Kapilow, Rob. "Barber's 'Adagio': Naked Expression Of Emotion." Celebrating The Samuel Barber
Centennial . 9 March 2010.
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Purcell creates a similar sense of despair by using a descending chromatic scale (see Fig.
2c10). Throughout the aria, Purcell never allows the chromatic scale to descend to the
tonic, instead always to the dominant, D. Only after Didos final death statement do the
violins play a final descending chromatic scale down to the tonic G. Furthermore, for
Didos final statement, the vocal line descends down a diatonic scale to the tonic, for the
first time cadencing with the ground bass, creating a sense of final realization of her
inevitable tragic demise (see Fig. 2d10 ).
Fig.%2c%10%Didos%Lament%from%Dido%and%Aeneas%by%Purcell%mm.%60664%%
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Fig. 2e11 shows the last phrase of the opening section (mm.8-12). The opening 3-noteascending motif is reintroduced in measure 8, but as the listener is anticipating the Eb to
fall to C like before, instead the C leaps immediately back up to G (m.11), letting out the
first glimpse of an outcry, breaking the listeners expectation.
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10"Purcell, Henry. Didos Lament from Dido and Aeneas, Act 3. 1689. Les ditions Outremontaises
2006."
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A similar effect is heard in Didos Lament (See Fig. 2f 12, mm.50-51). Throughout the
piece, Remember me! is stuck on the dominant D provoking a strong sense of
anticipation in the listener (m.45, m.47). The expectation is finally realized, when the 3rd
and final Remember me! (mm.50-51) leaps up to G (tonic) letting out a final desperate
outcry that depicts the tragic line before Didos demise.
Fig.%2f%12%Dido%Lament%from%Dido%and%Aeneas%mm.%44%654
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In constrast, it can be interpreted that the leap to G (m.11) in Barbers Adagio portrays
not grief but catharsis because the ascending melody finally reaches the G as release, the
first time in which the piece hovers on the sub-dominant (Fig. 2g 13). This is further
established by Barbers use of imitation. The unexpected leap is imitated by the 2nd
Violins, which leap an octave from middle C to high C (m.12), in piano.
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12"Purcell, Henry. Didos Lament from Dido and Aeneas, Act 3. 1689. Les ditions Outremontaises
2006."
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However, another point to consider is immediately after this, Barber moves C down to a
Cb creating dissonance resulted from the tri-tone interval of F and Cb, between 1st
Violins and 2nd Violins (see Fig. 2h 14 ). The tri-tone has a discordant, quality that
produces a sense of distress, relatable to grief.
Fig.%2h%14%Barbers%Op.11,%Adagio%mm.%11612%
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The tri-tone is commonly associated with unease because of its dissonant characteristic.
In the opening of One Summers Day, by Joe Hisaishi, the tri-tone immediately sets a
nostalgic discomfited mood induced by the dissonance produced by the tri-tone interval
between F and B (see m.5, Fig.2i 15).
Fig.%2i%15%One%Summers%Day%by%Joe%Hisaishi%mm.%1%65%%%
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15"Hisaishi, Joe. One Summers Day from Encore (originally from Spirited Away). 2002. Transcribed by
Pseudo"
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A piece of music is never listened to in the same way by two individuals. Therefore, the
interpretation of any music is purely subjective to the listener. The composer may have
an intention, for example to convey the feeling of joy or sadness, but in the end it
is all up to the listener. It is our job as the listener to use our ears and listen. 16 (Elliot)
No one knows Barbers exact intention behind the Adagio, whether he wanted to convey
a sense of absolute grief or for the piece to have a purging effect. But from the analysis of
the melody, it can be interpreted that the piece provides not only grief, attributable to the
dissonant tri-tone intervals and failure to reach tonic, but also a sensation of catharsis due
to the ascending contour of the melody and leaps.
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16"Elliot, David. A Composer's intention Personal interview. Beijing, 17 June 2014."
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1.3 The Art of Simplicity Structure

Barber implements an arch-form structure, a sectional structure based around repetition.
The sections of an arch-form structure do not have to be exactly repeated, but must
contain the same thematic material17. Many variations of Arch-form structure exist, but
generally the most common is ABCBA.
Barber implements a slightly different form to ABCBA, as there are 7 sections. This
gives a sense of discord because it breaks the symmetry of the whole piece. However
because of the Adagios slow tempo, it is unlikely that the listener is explicitly aware of
the extra section.
The Adagio is constructed around the repetition of the opening 3-note-ascending
sequence (see Fig. 3a18). Barber moves this motif throughout the whole orchestra: first as
the opening phrase in the violins, then the violas, then the cellos. The climax is reached
when the violins and violas overlap. The raw simplicity, repetition and space create the
opportunity for the listener to impose their own emotive response.
The 1st Section (Opening):
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17"Arch"Form"(ABCBA)"The%Music%Underground,"10"June"2008"
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The 2nd Section:
Fig. 3b19 shows the second opening bar of the second phrase. Essentially it is the same
melodic pattern as the opening phrase, except instead of starting on Bb, the violas play
the motif a perfect 4th above the original melody on Eb.
This conveys relief because by moving the motif up a perfect 4th, the note that the motif
descends to now becomes F, the major 3rd of the chord (m.15). Barber ends the phrase on
the relative major of the piece, Db Major, and because the motif now acts as the major 3rd
it defines the chord as a bright uplifting chord. In context, the major chord can be seen as
release because it brings the motif to a content closure.
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The 3rd Section:
In measure 22 (Fig. 3c20), the violas imitate the violins leap from the first section.
Instead of the ascending melody falling back down to a state of despondency, it leaps up
from F to Cb (m.22) letting out a cry of anguish. Barber implements the tri-tone interval
once again, where the motif leaps from F to Cb creating dissonance, portraying a sense of
misery.
Fig.%3c%20%Barbers%Op.11,%Adagio%mm.%22626%%
This tri-tone leap can evoke a theme of tragedy as the interval is familiarly associated
with death as heard in the piece Danse Macabre, translated Dance of Death, written by
Camille Saint-Saens. The violins enter playing tri-tone leaps consisting of Eb and A (Fig.
3d 21). The 2nd Violins are tuned down a semi-tone to Eb to create the tri-tone clash
evoking a harsh discordant atmosphere portraying death.
Fig.%3d21%Danse%Macabre%Op.40%by%Camille%Saint6Saens,%Adagio%mm.%256%32%%
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21"Saint-Sans, Camille. Danse Macabre, Op. 40 1874. Paris. 1875 Durand, Schoenewerk et Cie. 4 Place
de la Madeline"
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In Music, dissonance is one conventional way of evoking misery. The 19th song of Die
Schoene Mullerin portrays a young man singing a lament in his despair, after being
rejected by a woman22. Schubert achieves the despotic mood by having the semi-tone
dissonant clash between the F# vocal line and the piano bass on a G (similar to the tritone usage of Barber) (see Fig.3e23).
%Fig.%3e23%Der%Muller%Und%Der%Bach%from%Die%Schoene%Mullerine%by%Franz%Schubert%mm.%365%%
After Barbers implementation of the tri-tone leap there is a short counterpoint where the
violins play the main descending theme, answered by the violas (M.24). This resembles a
mournful call contrasted by a response of a soft, tender melody played in p by the
violas, further conveying grief (Fig. 3f24).
Fig.%3f24%Barbers%Op.11,%Adagio%mm.%22626%%
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22"Sgroi, Celia, Song Cycle Translations of Franz Schubert. n.d. Web. 14. July 2014
23"Schubert,
Franz 19. Der Muller und der Bach from Die Schoen Mullerin Op. 25, D. 795. 1823.
Germany. n.d. Jrgen Knuth"
24Barber, Samuel. Adagio For Strings Op.11. 1936. New York. 1939. by G. Schirmer, Inc.""
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The 4th Section:
This section can be associated as the lowest point of emotion in the Adagio as the motif is
introduced in the cello part. Fig. 3g25 measure 28 shows the opening of the fourth section
of the Adagio. An important factor to note is that although the motif played by the cello
(the lowest instrument of the orchestra), the actual part of the cello (m.27) is in a high
range, as it is tenor clef starting on a high B for cello. This gives a forced timbre in the
melody and creates a stringent, somber atmosphere.
A sense of loss is portrayed here, because of the loss of thick texture, as the cellos are no
longer providing the low textual harmony. In fact, the cellos are playing higher than the
viola part, which instead gives an extremely thin texture, evoking a hollow, raucous
atmosphere, relatable to grief.
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The 5th Section:
The climax is reached in section 5 as the piece slowly grows with emotion (mm.48-49),
building over the ascending motif until it reaches the peak, the pinnacle of tension and
passion, the adagios final rupture of emotion. Fig. 3f 26 shows the violins playing the 3note-ascending motif (m.48) up an octave creating a strident tone while overlapped with
the violas, inducing dissonance, reaching the zenith of tension. Beneath all of this, the
orchestra is playing at the peak of their range; the cellos are in treble clef playing D,
creating an intensely harsh timbre. Finally the opening constant note Bb is struck by the
violins at full force over 4 chords, letting out a final purge of grief built throughout the
whole Adagio.
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The 6th Section:
After every climax comes a reprieve, space for breath. This section is only 7 measures
long, just enough for the listener to catch a breath and recompose. (see Fig. 3f27).
Measures 55-56 gradually approach closure with long-dotted semi-breve note valued
chords. At measure 56 there is an imperfect cadence ending on F major (dominant) which
foreshadows the final imperfect cadence of the Adagio. The piece then returns back to the
opening motif in measure 57. By returning to the constant Bb, Barber allows the listener
to associate the piece back to the start of the piece where it first began much like a person
reflecting and grieving on the past. The piece starts to slowly build again as the same
ascending melodic line is repeated developing with longer crescendos, with the violas
doubling the violins but soon dies away, marked by the morendo and decrescendos
(mm.60-61).
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The 7th Section (The closing section)
The final section starts with the opening motif continued from the previous section (Fig.
3g 28 ). The 1st Violins and Violas play the motif simultaneously until the Adagio
approaches closure in measure 64. The opening motif that returns back to Bb in measure
64 is cut off short to only 4 notes Bb, A, Bb, C then back down to A. Our grief and
emotions are shortened as we approach closure.
Barber reiterates this in the final measures by once more restating the opening motif,
except he moves the 4 notes down an octave, slowing the tempo down even further by
doubling the length of each note value to minims (m.67). Everything is reduced to one
note A, the dominant and inevitably the only solution to closure. A is repeated again
to confirm the Adagios failure to reach a tonic resolution. It remains unresolved, leaving
the listener unsettled.
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2.1 Atmosphere The Imperfect Cadence
The Adagios final imperfect cadence perfectly symbolizes the narrative of a lament. The
imperfect cadence encapsulates exactly what loss is about: unanswered, no sense of
closure and futile.
The whole piece begins to die away from measure 65 where the melodic phrase is cut off
and all emotion slowly starts reducing, diminishing in weight (see Fig. 4a29). Finally, the
piece reaches the final dominant chord of F major in measure 68. The listener wants the
dominant chord to resolve to the tonic (Bbm) but Barber doesnt give the listener
resolution. Instead, Barber repeats the dominant chord and leaves the listener with a sense
of yearning for resolution, a feeling of incompleteness, similar to the longing one feels
after a tragic event such as a funeral.
Fig.%4a29%Barbers%Op.11,%Adagio%mm.%62669%%
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2.2 Atmosphere Instrumentation
The choice of strings literally establishes an enduring moving effect over the Adagio
tempo, creating the perfect mood. Strings are the most versatile of all classical
instruments; a note can be bowed forever30, which is perfect for an extremely slow piece
like this. Barber adds crescendos and long slurs throughout the whole piece. Fig. 5a31
shows an example of the climax where the motif gradually builds with long slurs and
dynamics giving the Adagio a progressive, moving disposition.
The whole piece is orchestrated around the ascending motif. This associates a poignant
mood because the motif is not just ascending in melody, but throughout the whole piece it
mounts in dynamics and expression giving the piece a slow but definite growing effect,
symbolizing the cumulative building of emotions throughout the Adagio.
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30"Adler, Samuel. The Study of Orchestration Third Edition. New York. 2002. W.W. Norton & Company,
Inc.
31"Barber,
"
Samuel. Adagio For Strings Op.11. 1936. New York. 1939. by G. Schirmer, Inc."
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Fig. 5b 32 shows a Baroque piece, Adagio in G minor by Remo Giazotto, which
encompasses similar instrumentation. The cellos acts as a bass line while the violins plays
in in 5ths with the violas providing the thick warm texture. Fig. 5b32 shows octave leaps
in the cello (m.1), similar to Barbers implementation of the octave leap in the violas
(Fig. 5c, m.11). This octave leaping technique causes a sudden emotional outburst that is
associable with distress or purgation.
Both Adagio for Strings and Adagio in G minor, are in minor keys which in western
classical music are associated with sorrow. Arguably, Adagio In G minor portrays a
stronger sense of grief because the octave leap is repeated in the cello as a descending
bass line, from G to F then down to E, so overall the melodic contour of the bass line is in
a descending movement, representing an emotional instability with the octave leaps and
an overall decline into misery (Fig. 5b32, mm.1-3).
Where as in Adagio for Strings, because the leap is being used as imitation of the 1st
Violins and the fact that the note value is held for 4 beats by the tie, instead it is more
relatable to a sense of relief. (Fig. 5c33, m.11-12)
Fig.%5b31%Adagio%
In%G%Minor%by%
Giazotto,%Remo%%
mm.%16%6%%
Fig.%5c33%Barbers%Op.11,%
Adagio%mm.%8612%%
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32"Giazotto Remo (Albinoni, Tomaso), Adagio in Sol Minore. 1958. n.d. Matmati, Jawher"
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2.3 Atmosphere Timbre
Barbers utilization of extensive range is arguably one of the central reasons for the
pieces association with grief. A prime example of this is seen in the cello part.
Throughout the whole piece, the cellos are played in a very high range, giving a forced,
strident tone as seen in Fig. 6a34 the climax, where the cellos are starting on high C and
even moves to Db above the octave which is extreme for the range of the cello.
Similarly, the 1st violins (mm.50-54) are also in an extremely high range. Fig. 6a34 shows
the climax where all the instruments play at the peak of their range, creating an extremely
stringent, sawing sound that immediately associates the piece to an outcry of grief.
""""""""""""""""""""""""""""""""""""""""""""""""""""""""
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Barber plays with both extremes of timbre. He opens the piece with a thin timbre (mm.1,
Fig. 6b 35 ), which is then immediately joined by a rich chord Ebm 7 with all the
instruments playing in a comfortable range, creating a thick warm texture.
Fig.%6b35%Barbers%Op.11,%Adagio%mm.%163%%
In contrast, Fig. 6c35 measure 48-51 shows the other end of the spectrum, when the
violins rise up to the tip of their range hitting the strained top Bb note. The Bb is played 2
octaves higher than the opening Bb creating a piercing almost screech like sound, which
is directly associable with sorrowful outcry.
Fig.%6c35%Barbers%Op.11,%Adagio%mm.%48650%%
A similar use of extensive range is heard in the last measures of Peripetie, by Arnold
Schoenberg, symbolizing Schoenbergs instable erratic state of emotions (Fig. 6d36). The
sudden extensive leaps portray the chaotic state of Schoenberg characterizing his
irrepressible, miserable temperament.
Fig.%6d36%Peripetie%from%5%Orchestral%Pieces%by%Arnold%Schoenberg%%
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36"Schoenberg, Arnold, Peripetie from Five Orchestral Pieces Op.16. 1909 n.d. Edition Peters No. 3377"
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Conclusion:
What key musical elements in Samuel Barbers Adagio have led to its frequent adoption
as a poignant affecting soundtrack associated to grief?
Through musical analysis of the score, this essay found that there are many various
implemented musical devices that contribute to the Adagios poignant, affecting mood
and associated pathos.
Section 1 establishes that Barbers use of anticipation through the constant Bb,
descending melodies that fail to reach resolution and unexpected leaps create distress. As
David Eliot states, its all about interpretation and the perception of the listener.37
Therefore, the essay acknowledges that the Adagio can also be interpreted as cathartic
because of the ascending couture of the melody and the leaps that produce release.
A strong sense of despair is also portrayed through the disjointed arch-form structure, tritones, the extensive range and the final imperfect cadence. This is supported by the study
of other pieces that use similar techniques, particularly dissonance by semi-tone clashes
and tri-tones. The specific theme of hopelessness is also depicted through the
descending melodies that fall to imperfect cadences.
Overall, the essay concludes that Barbers use of musical features and devices result in
the Adagios frequent adoption as a poignant soundtrack associable with grief. Moreover
the essay also reveals that perhaps there are common codes in the realm of music that
evoke specific emotions like grief such as tri-tones and melodies that fail to reach tonic
resolution.
""""""""""""""""""""""""""""""""""""""""""""""""""""""""
37"Elliot, David. A Composer's intention Personal interview. Beijing, 17 June 2014.
"
"
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"
Bibliography:
Scores:
Barber, Samuel. Adagio For Strings Op.11. 1936. New York. 1939. by G. Schirmer,
Inc.
Hisaishi, Joe. One Summers Day from Encore (originally from Spirited Away). 2002.
Transcribed by Pseudo
Giazotto, Remo (Albinoni, Tomaso), Adagio in Sol Minore. 1958. n.d. Matmati, Jawher
Lotti, Antonio. Crucifixus. n.d. New York. 1899, by G. Schirmer Inc.
Purcell, Henry. Didos Lament from Dido and Aeneas, Act 3. 1689. Les ditions
Outremontaises 2006.
Saint-Sans, Camille. Danse Macabre, Op. 40 1874. Paris. 1875 Durand, Schoenewerk et
Cie. 4 Place de la Madeline
Schubert, Franz 19. Der Muller und der Bach from Die Schoen Mullerin Op. 25, D.
795. 1823. Germany. n.d."Jrgen Knuth
Schoenberg, Arnold, Peripetie from Five Orchestral Pieces Op.16. 1909 n.d. Edition
Peters No. 3377
"
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"
CDs:
Barber, Samuel. Adagio For Strings Op.11. The 50 Greatest Pieces of Classical Music
London Philharmonic Orchestra. 2009. CD. Track 1.
Hisaishi, Joe. One Summers Day from Melodyphony London Symphony Orchestra
2010. CD. Track 8.
Giazotto, Remo (Albinoni, Tomaso), Adagio in G Minor for Strings and Organ (after T.
Albinoni). The 50 Greatest Pieces of Classical Music 2009. London Philharmonic
Orchestra. 2009. CD. Track 2.
Lotti, Antonio. Crucifixus. Renaissance Music for Inner Piece The Sixteen. 2005. CD.
Track 3.
Purcell, Henry. Thy Hand, Belinda When I Am laid In Earth from Purcell Dido and
Aeneas,"Connolly, Finley, Crowe, Bardon, Ainsley n/d. CD.
Saint-Sans, Camille. Danse Macabre, Op. 40. From Legend Of The Orchestra
Orchestre Du Capitole De Toulousem, Michel Plasson Paris. n.d. CD.
Schubert, Franz 19. Der Muller und der Bach from Die Schoen Mullerin Jonas
Kaufmann, Helmut Detsch. 2010. CD. Track 19.
Schoenberg, Arnold, 5 Orchestral Pieces, Op. 16:IV. Peripetie from Surrealist Minds.
Kurt Weill, Oliver Messigen. n.d. CD.
"
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Books:
Morin, Alexander. Classical Music: Third Ear: The Essential Listening Companion.
Backbeat Books. (2001). p. 74.
Adler, Samuel. The Study of Orchestration Third Edition. New York. 2002. W.W. Norton
& Company, Inc.
Larson, Thomas The Saddest Music Ever Written: The Story of Samuel Barber's "Adagio
for Strings". (2010). Pegasus Books.
Websites:
Sgroi, Celia, Song Cycle Translations of Franz Schubert. N.d. Web. 14. July 2014
Arch"Form"(ABCBA)"The%Music%Underground,"10"June"2008
Others:
Elliot, David. A Composer's intention Personal interview. Beijing, 17 June 2014.
Kapilow, Rob. "Barber's 'Adagio': Naked Expression Of Emotion." Celebrating The
Samuel Barber Centennial . 9 March 2010.
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An Insight Into Samuel Barber's Adagio For Strings by Bjorn Shen

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What key musical elements in Samuel Barbers Adagio have led to its frequent adoption as a poignant,

affecting soundtrack associated with grief?

An Insight Into Samuel

1.1 The Art of Simplicity A Single Note

1.2 The Art of Simplicity Melody

1.3 The Art of Simplicity Structure

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