Fried Ewald

I
I
Publication No.: 23,735
FRIEDEWALD, Russell Edward
A FORMAL AND STYLISTIC ANALYSIS OF THE
PUBLISHED MUSIC OF SAMUEL BARBER.
Iowa State University, Ph.D., 1957
Xerox University Microfilms, Ann Arbor, Michigan 48106
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
A FORMAL AND STYLISTIC ANALYSIS
OF THE PUBLISHED MUSIC OF
SAMUEL BARBER
by
Russell Edward Frledewald
A dissertation submitted in partial fulfillment of

the requirements for the degree of Doctor of
Philosophy in the Department of Music
in the Graduate College of the
State University of Iowa
Chairman: Professor Thomas S. Turner
August 1957
TABLE OP CONTENTS
page
Preface ................................................. v
Chapter
I Music for Solo Voice with Accompaniment ........ 1
'Introduction ................................ 1
Opus 2 ...................................... 3
No. 1 "The D a i s i e s " ..................... 4
No. 2 "With Rue My Heart is Laden". . . . 3
No. 3 "Bessie Bobtail" ................ 8
Opus 3 12
Dover B e a c h ............................... 12
Opus 1 0 ......................................... 19
No. 1 "Rain has F a l l e n " ................... 20
No. 2 "Sleep N o w " ......................... 26
No. 3 "I Hear an A r r a y " ................... 30
Opus 13 ................... 36
No. 1 "A Nun Takes the V e i l " ............. 37
No. 2 "The Secrets of the O l d " ........... 39
No. 3 "Sure on This Shining Night" ... 41
No. 4 "Nocturne"........................... 45
Opus 1 8 ................. 54
No. 1 "The Queen's Pace on the
Summery C o i n " ....................... 54
No. 2 "Monks and R a i s i n s " ................. 59
Opus 24 .. .....................................61
Knoxville; Summer of 1 9 1 5 .................6l
Opus 2 5 ................................ 69
N u v o l e t t a ................................. 69
ii
Opus 27 ......................................... 73
Melodies p a s s a g e r e s ................... . 73
N o . 1 "Puisque tout p a s s e " .............75
No. 2 "Urx c y g n e " ....................... 76
No. 3 "Tombeau dans un p a r e " ........... 79
No. 4 "Le clocher c h a n t e " ............... 79
No. 5 " D e p a r t " ......................... 81
Opus 2 9 ...................... . ................ 83

Hermit Songs............................. 83
No. 1 "At Saint Patrick's Purgatory" . 84
No. 2 "Church Bell at N i g h t " ........... 86
No. 3 "St. Ita's V i s i o n " ...............87
No. 4 "The Heavenly B a n q u e t " ...........90
No. 5 "The Crucifixion"................. 92
No. 6 "Sea Snatch"....................... 93
No. 7 "Promiscuity" . . . . . 95
No. 8 "The Monk and His C a t " ........... 96
No. 9 "The Praises of God"............ 98
No.10 "The Desire for Hermitage" . . . 100
II The Choral M u s i c ................................105
Opus 8 ........................................ 105

No. 1 "The Virgin M a r t y r s " ............ 105
No. 2 "Let Down the Bars, 0Death" . . . 108
Opus 1 5 ......... ............................. 110

A Stopwatch and an OrdnanceM a p ......... 110
Opus 1 6 ........................................ 115

Reincarnations .......................... 115
No. 1 "Mary Haynes" ................... 115
No. 2 "Anthony 0 D a l y " ................. 118
No. 3 "The C o o l i n " ..................... 120
III The Piano Music......... 123
Excursions, Opus 2 0 ............................123

iS'o'n'ata for Plano, Opus 2 6 ...................... 132
iii
IV The Chamber M u s i c .................................156
Serenade for String Quartet or String

Orchestra, Opus 1 .............................156
Sonata for Violoncelloand Plano, Opus 6 . . . 166
String Quartet, Opus 1 1 ....................... 177
V The C o n c e r t o s ..................... 189
Concerto for Violin and Orchestra, Opus 14 . . 189

Capricorn Concerto, Opus 2 1 .............. 207
Concertofor Violoncello and Orchestra,
Opus 22 217
VI..............The S y m p h o n i e s . 240
First Symphony, Opus 9 .................... 240

Second~Symphony, Opus 19 . .................. 253
VII The Miscellaneous Orchestral Works ........... 273
Overture to The School for Scandal,Opus 5 . . 273

Music for a Scene from Shelley, Opus 7 . . . . 280
Essay for Orchestra',' Opus 12 ................ 286
SecondHSssay for Orchestra, Opus 1 7 ...... 297
Commando March"' T ...........................306
Ballet Suite Medea, Opus 2 3 ................ 311
VIII S u m m a r y .......................... 335
Appendix A: ChronologicalList of Published Works . . . 342
Appendix B: List ofR e c o r d s ............................. 345
Bibliography . ..................................... 350
iv
PREFACE
When this thesis was undertaken in March of 1955
the writer had hoped that Samuel Barber would permit and
encourage a personal interview about his life and work.
However, the following letter received from the composer
dated March 28 of that year destroyed all hope of immediate
or future contact:
'Capricorn' Mount Kisco, New York
March 28, 1955
Mr. Russell E. Friedewald

Music Department
State University of Iowa
Iowa City, Iowa
Dear Mr. Friedewald:
I am of course honored that you wish to devote

your thesis to me and my music but I must make
it very clear to you that at the present moment
I am up to my neck in work on a new opera and
simply will have no time at all to correspond
with you or to answer questions about my work.
I have just gone through this in some detail
for a book which Nathan Broder has written
about me, published by Schirmers, and do not
wish to give any more time to a similar pro
ject, that is - myself, for some years.
Very sincerely yours,
/s/ Samuel Barber
The concluding sentence of this letter serves to
corroborate the material presented in Nathan Broder's book,
Samuel Barber. 1 Because little or no additional information
can be gathered at this time, only a brief sketch outlining
the composer's career is included here; the information is
compiled from Broder's book.
Samuel Barber
Bom West Chester, Pennsylvania, March 9 1910
Charter student at the Curtis Institute of Music,

Philadelphia, Pennsylvania 1924
Instructors:
Piano: George Boyle, Isabelle Vengerova

Composition: Rosario Scalero
Voice: Emilio de Gogorza
Conducting: Fritz Reiner
B e a m s Prize awarded for violin sonata

(work remains unpublished) 1928
First trip abroad 1928
Left Curtis Institute 1933
Pulitzer Prize awarded for Sonata for Cello and

Piano, Op. 6 , and Music for a Scene 'from Shelley,
OpTT 1933
B e a m s Prize (second time) awarded for Overture
to the School for Scandal,Op. 5 ___ 1933
1. Nathan Broder, Samuel Barber (New York: G, Schirmer,

Inc., 1954).
vi
Prix de Rome awarded for Sonata for Cello and Piano,
Op. 6 , and Music for a Scene from Shelley, Op. 7 1935
Prix de Rome (second time) awarded for Symphony in

One Movement, Op. 9 1936
Went to Italy 1936
Taught at the Curtis Institute 1939-42
Inducted into the Army 19^3
Released from the Army 1945
Settled in Mount Kisco, New York, his present

home 1945
Samuel Barber's music is frequently performed by
leading orchestras and artists, both in this country and
abroad, thus exerting a strong influence on contemporary
musical thought. While his position in the present day
musical scene is difficult to assess with any certainty,
indeed, it being questionable that such an assessment is
desirable, his serious approach to the art of music, his
prodigious technique, and his record of work and achievement
merit careful study; such a study is the primary purpose of
this thesis.
Because the composer is active at this time in
the practice of his art, no survey of his music can be
complete. For this reason this dissertation is limited to
the published music that was available up to the summer of
vii
1955 .
The technical details of melody, counterpoint,
harmony, rhythm, and orchestration are Important factors to
he considered In any study of music. It Is the belief of
the writer, however, that an intimate and conscious under
standing of the design (or form, or structure) of the music
is even more important if one is to "extract from the art
as much as he can of that which so many great men have put

2
into it. . Because of this belief, it is felt that a
more meaningful discussion of Samuel Barber's music can be
achieved by placing the emphasis upon the structural design
and relating the technical details to it. Regardless of
the clarity of approach or the ingenious methods of
explanation that any writer might use, music must be heard
to be fully understood. Live performances of contemporary
American music are comparatively rare and one must depend
upon recordings to expand his knowledge. It is indeed
unfortunate that many recording companies discontinue
records when they cease to be profitable. While most of
Samuel Barber's published music has been recorded, several
2. Cedric Thorpe Davie, Musical Structure and Design

(London: Dennis Dobson, 1943), 10.
viii
works are no longer readily available.
No attempt has been made to invent new termi
nology, but a short explanation of seventh-chord identifi
cation may be necessary. The method of identification

v
presented by Dr. Allen Irvine McHose in his The Contrapuntal
Harmonic Technique of the 18th Century is consistently used.
Two factors are considered in the naming of seventh-chords:
first, the quality of the triad, and, second, the interval
between the root and the seventh. A major triad with the
addition of a minor seventh above the root is therefore
called a major-minor seventh chord; a diminished triad plus
a minor seventh is called a diminished-minor seventh chord,
etc. Whenever the triadic structure and the interval of a
seventh are identical, i.e., major triad and major seventh
above the root, the chord structure is simply referred to
as a major seventh chord.
All of Samuel Barber's music is published by
G. Schirmer, Inc. of New York City. In a letter dated
September 21, 1955 Mr. H. W. Heinsheimer, a representative
3. Allen Irvine McHose, The Contrapuntal Harmonic Technique

of the 18th Century (New York: P. S. Crofts & Company,
1^4777
ix
of that company, gave this writer permission to reproduce
short musical examples from Barber's works provided he
observe the following stipulations:
Just please observe the formality to add the

copyright notice which appears in the printed
copy to each of these quotes and state some
where in your forward that these quotes are
given by permission of the copyright owners,
G. Schirmer, Inc.
/s/ H. S. Helnsheimer
In compliance with the publisher's request, each musical
quotation is footnoted and the copyright notice given. The
following publishing companies have granted permission to
reproduce poems copyrighted by them: Yale University Press,
Harvard University Press, The Viking Press, Oxford University
Press, The Macmillan Company, Harper and Brothers Publishers,
and The Richards Press.
It is my pleasant duty to acknowledge the
indispensable help and advice I received from my many
friends and colleagues during the preparation of this
dissertation. I am especially grateful to Professor
Thomas S. Turner of the State University of Iowa for his
excellent guidance and valuable criticism, but most of all
for his enduring friendship and interest. I gratefully
acknowledge the gracious help of Professor Albert T. Luper
who gave abundantly of both his time and energy in my

x
behalf. To members of the State University of Iowa
Libraries, Michigan State University Libraries, The Library
of Congress, and to the New York Public Library sincere
thanks is tendered for easing the burden of tracing details
and shortening by many hours the task of compiling the in
formation found in the text. I am also indebted to my
friends and colleagues, Dr. H. Owen Reed, Paul Harder, Dr.
Stanley Finn, and Eunice Randall for their helpful comments
and suggestions.
Russell E. Friedewald
1
Chapter 1
MUSIC FOR SOLO VOICE WITH ACCOMPANIMENT
Introduction
At the time of writing Samuel Barber has published
twenty-eight songs for solo voice with piano accompaniment.
Included among these are two song cycles, Melodies passageres,
and the Hermit Songs. There are five songs in the former
cycle and ten in the latter. Except for the songs included
in the two cycles, individual copies of each song are avail
able. At the present time there are two collections, one for
high voice, the other for low voice, which contain all the
songs by Samuel Barber published up to 1955.
In addition to the songs for solo voice with piano
accompaniment, there are two compositions for voice with in
strumental accompaniment. Dover Beach, Opus 3, is written
for solo voice and string quartet; Knoxville: Summer of 1915,
Opus 24, is scored for soprano voice and orchestra."''
That Samuel Barber understands the voice and its
limitations as do few contemporary composers is not at all
1. Several songs that were originally written for voice and

piano have been orchestrated by the composer (specific
citations will be made in subsequent footnotes).
2
surprising. His aunt, Louise Homer, the great American
contralto, undoubtedly helped to nurture his love of vocal
music when he was a young boy. Later, while at the Curtis
Institute, he studied voice with Emilio de G o r g o r z a , ^ a
successful concert baritone who had joined the voice faculty
in 1925.3 After leaving the Institute in 1933,. he resumed
his vocal lessons in Vienna.^ Barber's baritone voice has
won the admiration of many musicians (Poulenc offered to
write some songs for him to sing), but as composition was
always his first love, his singing career is limited to
relatively few professional engagements. When Dover Beach
was recorded by Victor Records, he sang the voice part,
assisted by the Curtis String Quartet. Since, however, only
a small number of pressings was made of this recording, it is
now a collector's item.
As to the quality of the songs, one critic has
this tu say:
2. Nathan Broder, Samuel Barber (New York: G. Schirmer, Inc.

1954), 14.
3. Baker's Biographical Dictionary of Musicians, 4th Edition

(New York: G. Schirmer, Inc., 194U), 4ll.
4. Broder, 25.
5. RCA Victor, 8 9 9 8 .
3
As a song writer Samuel Barber has few peers among

today's composers. It is in his songs that Bar
ber's native lyric gift has found some of its
happiest expression. Whenever I look over them I
I am reminded of a remark that Virg*l Thomson made
about Barber: :!He is pure in heart." That quality
of purity is everywhere evident in Barber's works
for the voice. Nothing is forced, there is no
striving for effect. They are always melodic and
singable.
Barber's songs do not follow a stereotyped pattern. Each set
ting is carefully conceived, capturing the mood and expression
of the text. Many of his songs, particularly those contained
in the song cycles, represent major contributions to the vocal
repertory by a contemporary composer.
Opus 2
No. 1 "The Daisies"

No. 2 "With Rue My Heart Is Laden"
No. 3 "Bessie Bobtail"
The three songs that are included in Opus 2 show
the lyrical qualities of Barber's early musical thought.
The emphasis is on clear tonality, on a simple, flowing vocal
line, and although not derived from folk songs, they
nevertheless show the spontaneity that is often associated
with them. The piano part, generally speaking, supports
6 . James W. Quiiiian, "The Songs of Samuel Barber,"

Repertoire I (October 1951 ).> 18.
4
or illustrates the vocal line., but it is essentially an .
accompaniment, rather than an equal companion.
The first song in Opus2 "The Daisies," was

7
written in 1927. The text, from a short poem bearing the
same title, was written by James,Stephens. A short quotation
of the first stanza of the poem demonstrates the light-hearted,
ballad-like expression of the text.
In^the _scented bud of the morning 0,,

When tlie windy grSss^went rfppling farl
i^saw my jiear one walking^ sl'ow ( o
In tKe field where tKe daisies are.
The entire poem consists of three stanzas, each of which has
four lines with a rhyme scheme of ABAB. The accentual signs
that have been placed above the text are not intended to
indicate the metrical design of the poem, but rather to show
the musical accent that the composer has used in his setting.
The poem is set in quadruple-simple, or 4/4 time; each
unaccented word or syllable is set to an eighth-note, and
the accented words are given at least twice the latter
value. The simplicity of the rhythmic design with its
7. Broder, 100.
8 . James Stephens, "The Daisies," Collected Poems (New York:

The Macmillan Co., 1926), 53* Permission to reproduce
this poem was granted by the publishers.
5
emphasis on flowing eighth-notes is in keeping with the mood
of the text, which is only twenty-three measures long and re
mains in the key of F major throughout. Each stanza of the
text is represented by one complete sentence of music; thus
the song comprises three complete sentences. Although the
second and third sentences are not exact restatements of the
first, they are only slight variants of it. Each of them
ends on the tonic triad of F major, the cadence in each
case being dominant seventh to tonic. For the most part,
the chords are largely limited to the tonic and subdominant
triads, and the dominant-seventh chord.
The second song in Cpus 2, which is based on A. E.
Housman's poem, "With Rue My Heart Is Laden," was written

C
in 1928. Harry Dexter makes the following comment about
this song In Musical Opinion:
The third song of this set, "With rue my heart

is laden," a setting of A. E. Housman's famous
poem, is, I feel, not so successful. The mood
is right; there is no over-dramatisation; it is,
just like the poem, too slick and glib in ex
pression for the heartbreaking thoughts it
offers. 0
9. Broder, 100.
10. Harry Dexter, "Samuel Barber and 'his Music,"

Musical Opinion 72 (April 1949), 344.
6
Although Mr. Dexter states that this is the third song in
this set, it is actually listed as Opus 2, No. 2.
While the original key of this song is B minor, it
is also published in others. Because copies of it are more
readily available in the key of D minor, this version is used
for the present discussion.
Like the first song in Opus 2, this is a terse
setting of a short poem. The poem consists of two quatrains
with a rhyme scheme of ABAB, each quatrain being represented
by one complete musical sentence. The meter shifts from
3/4, to 4/4, to 5/4, and again back to 3/4. A short intro
duction (m. 1-3) leads to the first quatrain (see Example 1).
7
Ex. I11
Awiarvte c&tiCaVkle J s84
rut vnv h u r t it Ud _ etv
r
w D o m in tn t P ro \ fi tti.n -> T o n ic
Each musical sentence is divided into an antecedent
and a consequent phrase. The antecedent phrase includes the
first two lines of the first quatrain, and the consequent the
remaining two. The second quatrain begins with an exact
repetition of the antecedent phrase of the first section,
but is concluded with a new consequent phrase. The short
diagram that follows will illustrate the formal design.
Introduction 1st Quatrain (A) 2nd Quatrain (A )

Antecedent Consequent Antecedent Consequ en t
M. 1-3 M. 3-8 M. 8-14 M. 14-19 M. 19-26
(a) (b) (a1 ) (o)
11. Copyright 1938, by G. Schirmer, Inc., New York.
8
The first musical sentence ends with a half-cadence
on the minor dominant; the final cadence of the song is
essentially a leading tone seventh chord (C#EGBb ) progressing
to the tonic, a D major chord. In addition to common triads,
the diminished seventh chord and the major-minor seventh chord
are employed. The prolongation and resolution of the
dominant seventh chord of D minor, which appears at the
beginning and ending of both antecedent phrases (m. 4, 14, 2 6 ),
maintains the harmonic interest (see Example 1, m. 4-5).
The running eighth-note pattern used at the outset
of the song in the piano part pervades the whole work, pro
viding rhythmic flow. The vocal writing in the first two
songs of Opus 2 is largely diatonic and graciously lyrical
it practically "sings itself."
"Bessie Bobtail," the third song of Opus 2, was
written six years later than "With Rue My Heart Is Laden, " 12
but, as In the first two songs, the emphasis is still on
clear tonality and a simple, flowing vocal line. The
accompaniment, although not actually intruding upon the
vocal part, does illustratively point up the text by its
use of a three-note rhythmic figure, later extended, which
suggests the plodding walk of the animal (see Example 2).
12. Broder, 100.
Reproduced with permission o f the copyright owner. Further reproduction prohibited without permission.
9
Ex. 213
The poem, a delightful one, has three stanzas of
six lines each with a rhyme scheme for the first two stanzas
of AA, BB, CC; the last stanza retains the same rhyme scheme
for the first four lines, but the last couplet, the climax
of the poem, appears as follows:
0 God He knows: And, God He knows!

And, surely God Almighty knows!
The song is divided into four sections with a
short introduction and coda. Each section is set off by
either a fermata-chord or a poco allarganao measure. The
13. Copyright 1936, G. Schirmer.
14. James Stephens, "Bessie Bobtail," in Collected Poems

(New York: The Macmillan Co., 1926), 143.
10
second and third sections (it would be possible to regard
them as one) are rhythmic variations of the first. The first
half of section four, which includes the words, "0 God He
knows: And, God He knows I" is the only part of the song that
does not include the plodding rhythmic figure.
The imabic pentameter of the text is maintained
by both metrical and textual stress throughout the first
section of the song (m. 1-2 6 ) with only a slight interruption
at measure 16. The three-note plodding figure in the
accompaniment continues to alternate between the tonic and
an incomplete form of the dominant harmony. At the close of
the first section, (m. 25-2 6 ) on the word "desperate, 11 a
shift is made to an E flat major seventh chord without the
fifth. This harmonic shift, suggestive of the Neapolitan
relationship, strongly reinforces the text.
Section two, which includes the complete text of
the second stanza, is a rhythmic variation of the first
eighteen measures of section one. The meter signature is
changed to 3 /2 and the plodding rhythmic figure is now
extended to four notes. The static repetition of the
harmonic progression, tonic to dominant in D minor, is
maintained, and the melody of section one, now subjected
to rhythmic alterations, is repeated. Thus we have a
11
rhythmic variation with the harmonic and melodic aspects
fixed. The second section ends on an E minor seventh chord,
.minus the fifth and with an added fourth. (EGDA.) It does
not convey to this writer the sensation of a chord in fourths.
Section three, beginning with the anacrusis in
measure thirty-nine, provides another variation of section
one.' This variation includes the first four lines of the
third stanza of the poem. The meter signature is again
changed, this time to 5/ 2 , and the plodding rhythmic figure
is extended to five notes. The use of sixteenth notes implies
a diminution of the four-note figure of section two. The
rather staid harmonic progression, tonic to dominant, pre
vails, and the vocal line is again a rhythmic variation of
that which is used in section one. This very short section,
almost chant-like, ends with the minor dominant in second
inversion.
The first half of section four, again with the
meter signature 2/ 2 , conspicuously lacks the three-note
rhythmic figure. The vocal line is involved in a series of
suspensions and appoggiaturas, with the G sharp diminished
triad assuming the leading harmonic role. The association
of the diminished triad with the word "God" of the text is
perhaps reminiscent of sixteenth-century tone painting.
12
The second phrase of the fourth section begins after a
fermata, the plodding.rhythmic pattern now alternating
between a three- and a two-note pattern. The final words
of the text, "And God He knows 1", are sung without
accompaniment, ending on the tonic note D.
The coda is given to the piano alone, and the
first part of the melody as used in section one is once more
introduced to bring the song to a close. The final chord is
D minor.
Dover Beach, Opus 3
This composition belongs to Barber's earliest
period, often referred to as neo-romantic. Among the
published works it is listed as Opus 3* and was written in
1931. It is written for medium voice and string quartet,
but although the original score calls for a baritone, the
vocal line is equally suitable for mezzo-soprano. The text
of the vocal part, and the title of the composition itself,
are taken from the poem "Dover Beach" by Matthew Arnold.
The entire poem is included in the published score.
15. Refer also to Matthew Arnold, Poems (New York: The

Macmillan Co., 1940), 211-212.
13
In "Dover Beach," the poet uses the image of the
sea to express the thoughts of nothingness, the feeling of
despair, disorder, and t u m u l t . T h e poem is written in blank
verse, with four stanzas of varying lengths. Although the
initial lines of the poem are in iambic pentameter, the
remaining lines follow irregular patterns.
James W. Quillian makes the following statements
about Dover Beach in Repertoire:
This work is extremely personal in its idiom.

In fact, Barber recorded it himself for Victor,
with the assistance of the Curtis String Quartet.
It begins with an accompanying figure in sixteenth
notes that depicts the gentle sighing of the sea.
Soon the other strings enter in and as the poem
becomes more and more filled with a passionate
yearning, the instruments become contrapuntally
involved moving to an intense climax. Before the
close there is a return to the first idea and the
work ends pianissimo. The vocal line, although
melodic, is of somewhat declamatory or quasi
recitative nature. However, the whole moves
flowingly and these are passages of real vocal
eloquence
The harmonic basis is quite simple as all chords
are triadic in origin, and dissonances are the result of
either triadic extension through the tertian system (seventh,
16. Cleanth Brooks, Jr. and Robert Penn Warren, Understanding

Poetry (New York: Henry Holt Co., 1938)* 554-555'.
17. James W. Qnillian, "The Songs of Samuel Barber," 19.
14.
ninth and thirteenth chords), or triads with added tones.
There is a tendency toward mood suggestion by using triads
in a non-functional manner for the sake of their color
impressions. The introductory motive, which features a D
minor triad moving tc a G sharp minor triad, is typical of
the mood suggestion. Abrupt chromatic and enharmonic
modulations to remote keys occur throughout the central part
of the work, but the composition as a whole is stabilized by
the opening and closing sections, in which strong tonic
emphasis is evident.
The work is in episodical, ternary form (A-^BA2 ).
Examples 3 and 4 show the two principal Motives that are
used.
18
Ex. 3
Sal "Usto
Reproduced with permission of the copyright owner. Further reproduction prohibited w ithout permission.
15
Ex. 419
^ Motive2^
vu.
Vc.
The first section (A1, m. 1-53) is, in itself, ternary in
design (a'^ba2 ), part 1 of which begins in measure 1 and
extends to measure 1 9 . The first five measures constitute an
introduction composed of an ostinato-like figure in the second
violin, and the presentation of Motive 1 in the first violin.
Part two (b), which begins in measure 20 and
extends to measure 43, is based on Motive 2 (see Example 4),
and is much less stable tonally than the preceding one. It
opens in D minor, modulates abruptly to E flat minor in
measure 31* touches upon D flat major in measure 34, E minor
in measure 38, and I flat major in measures 41-43.
19. Ibid.
16
Motive 1 serves as the basis for part three,
(m. 44-53) again reiterating the tonic key, D minor. The
motto-like association of the G sharp minor triad (here
spelled enharmonically) with the D minor triad may be ob
served in measures 45-47. Measures 50-53 serve both as a
small coda to section one and a link to the next section.
The composer uses two stanzas of the poem for the first
section.
The third stanza, beginning "Sophocles long ago
. . . ," marks the second section (B), which extends from
measure 54 to 6 7 . The character of the music changes
abruptly in this section. The accompaniment consists of
simple chords moving in half notes, while the voice part
suggests a recitative style. It could be considered as

20
"recitativo accompagnato" or "recitativo stromentato."
D major is the point of departure, but the music moves
immediately away from this key, passing through the keys of
E major, C major, E minor, and back to D major at measure 60.
At this point the passage in D major that was used at the
start of this same section is resumed, but is altered after
two measures, moving from D major to C minor, and E minor.
20. Harvard Dictionary of Music, ed. Willi Apel (Cambridge:

Harvard University Press, 1946), 6 2 9 .
The closing measures (m. 64-67) utilize Motive 2 and pass
through the keys of C major, A flat minor, and F flat major.
The dominant chord in this key (C flat, E fl..t, G flat)
becomes enharmonically the dominant in E minor, the opening
key of the final section. Although the middle section of
this work is rather short, it contrasts with the rest of the
composition by its change in character and its rapid flux of
tonality.
The third and final section (A^, m. 68-115), is
binary in design. One part concerns itself with Motive 1,
and the other with Motive 2. The order, however, is reversed,

P 1
the b section appearing before the a . In effect, the a of
the first section is omitted, causing an inverted order of
presentation to take place.
The material for part one of this binary form

O
(b , m. 68-97) is composed chiefly of Motive 2, being
similar to b^ of the first section (compare letter J, for
example, with letter C ) . It opens in the key of E minor,
touches upon D minor at measures 75-77* reverts to E minor,
and finally returns to D minor at measure 92 after a long
evasion of the tonic, extending from measure 84. Measure 92
is felt to be the climax of the composition, not only because
of the culminating effect of the harmonic progression (the
18
tonic key finally asserts itself decisively!), but also
because it is here that the vocal line reaches its highest
point. Prom here to the end of the work there is a strong
affirmation of the tonic key of D minor.
Part two (a^, m. 98-115)* consists of an almost
literal repetition of a^. The accompaniment is the same
(except for the interchange of parts) to measure 110, but
the solo part is altered from measure 104. Again, the
ostinato-like passage, and the motto-like association of the
D minor and G sharp minor triads set the mood of the music.
The coda (m. 116-123) is composed of Motive 1,
and the ostinato figuration. The harmonic feeling is that
of subdominant and tonic.
It is evident that the composer was very meticulous
in following the rhythm of the poem, and it appears, too,
that he has captured its mood and expressiveness. Repeated
notes are frequently used in the vocal line, which is pre
dominately conjunct in nature. It is undoubtedly this re-
peated-note aspect that James Quiilian^ had in mind when he
stated that the melodic line is quasi-recitative in character.
The vocal line is not difficult from an intervallic
21. James W. Quillian, "The Songs of Samuel Barber," 18.
standpoint as there is only one diminished interval in the
entire work a descending leap of a diminished fifth (m. 89)
from C to F sharp.
The Poem The Musical Form
1st Stanza - 14 lines A (a1 b a2 )
2nd Stanza - 6 lines

3rd Stanza - 3 lines B (Recitative-like)
3rd Stanza - 5 lines

4th Stanza - 9 lines A (b2 a^)
(The last word of the text

might," is a part of the
coda). Coda
A piano reduction of the score is available, but
is not recommended for performance.
Opus 10
No. 1 "Rain has Fallen"

No. 2 "Sleep Now"
No. 3 "I Hear an Army"
The three songs in Opus 10 were written in 1936
when Samuel Barber was only twenty-six years old. These songs
are settings of poems from Chamber Music by James Joyce, a
collection of thirty-six poems published in 1907, and the
first of Joyce's books to reach the public. In his "Editor's
Preface" to Chamber Music in The Portable James Joyce, Harry
Levin, the editor, says:
20
The qualities and limitations of these thirty-

six poems, as well as their lack of pretentious
ness, are implicit in their title. They are
slight, elusive, formal, above all musical.
Yeats called some of his poems Words for Music,
Perhaps. There was no "perhaps" about Joyce5s
intention, as a singer, to write lyrics that
could really be sung. His success may be
measured by the number of musicians who have
provided them with effective settings. 22
Of the thirty-six poems, Barber has chosen numbers
thirty-two, thirty-four, and thirty-six. As none of the
individual poems has a name, the song titles are derived from
the initial words of the first line of each poem.
The text of "Rain has Fallen" conveys a nostalgic
mood, and the musical setting explicitly reflects this
quality. The texture is based upon arpeggiated, groping
harmonies that intermittently feel their way to strong
harmonic goals. In the accompaniment the interval of the
octave, by its many repetitions, becomes a unifying element
in the formal plan. In other works of Barber an interval
rather than a specific chord will be found to provide formal
cohesion. The over-all key of this song is unquestionably
D minor. (Although published in other keys, D minor is the
original one.) With the exception of the progressions from
22. James Joyce, "Collected Poems," in The Portable James

Joyce, ed. by Harry Levin (New York: The Viking Press,
i i r , 627.
21
dominant to tonic in some cadences, there is practically no
feeling of harmonic movement in the traditional sense. The
chord structures, however, are clearly evolved from the
tertian system.
The poem consists of two stanzas of four lines
each with a rhyme scheme of ABAB for each stanza. The

23
term "strophic song" is appropriate because each stanza,
with but slight modifications, is sung to the same melody.
An introduction of four measures precedes the first stanza,
and a short coda rounds out the last section.
The following example, which begins with the third
measure of the introduction and includes the title words of
the song, illustrates the arpeggiated harmonic pattern as
well as the stress that is placed upon the interval of the
octave. Note the filled-in octave, as well as the octave
leap.
23. Harvard Dictionary of Music, 713.
22
Ex. 524
Voice
The accompaniment pattern as it appears above is
present throughout most of the song. The pedal on A in the
bass of the piano part proves to be a dominant pedal to D
minor, and, in measure eight, a cadence in D minor is con
summated. The penultimate chord in the cadence is not the
dominant, but rather its substitute, the first inversion of
the augmented triad on the mediant scale degree. The strong
tonic cadence occurs in the middle of each stanza of the
text rather than at the end. The punctuation that occurs at
the end of the first stanza is achieved by melodic and
rhythmic means rather than by harmonic definition. Apropos
of this procedure, Karl Eschman makes the following statement:
24. Copyright 1936, G. Schirmer, Inc., New York.
23
Caesuras in the past have been indicted by

melodic inflection and by harmonic as well as
rhythmic discharge; we must now depend in some
cases upon one of these above with but slight
assistance from the other two.2?
The punctuation is achieved by a melodic inflection
(the C sharp in the vocal line moving down a half-step to
B sharp), and by a rhythmic caesura; a poco rallentando is
indicated, and the rhythmic values are lengthened (see
Example 6 ).
Ex. 626
25. Karl E-schman, Changing Forms In Modern Music (Boston:

E. C. Schirmer Co., 19^5)/ 53.
24
A four-measure bridge section (m. 12-15* a fragment
of which appears in the above example) provides a successful
connection between the two stanzas of the text. The rhythmic
flow is maintained by a sequential, cascading eighth-note
pattern which, along with a descending octave leap in half
notes, is framed by the interval of the octave. The dominant
scale tone of D minor is stressed, and the stage is set for
the eventual return to the tonic key. Measure 14, also a
part of the bridge section, is noteworthy because of the
cross relations.
The second stanza begins in measure 16 with the
melody of the first section, slightly modified, being
reiterated. A slight rhythmic modification of the melody
may be noted in the first phrase of the second stanza in
measure 18 along with the addition of three notes at the
close of the last verse. The arpeggiated rhythmic pattern
persists, and the first half of the second stanza is again
set off by a strong melodic cadence culminating on the tonic
note. The caesura that is used at the completion of the text
(m. 2 3 ) is basically the same as that which was used to
complete the text for the first stanza. It is significant
that the climactic point of the song is allocated to the piano
rather than the voice. The rising octaves which lead to the
25
climactic point in measure 24 are introduced in measure
23 while the voice is sustaining the final word of the text.
The text of the last line of thesecond stanza,
"Speak to your heart," is repeated in the coda section. The
penultimate measure of the final cadence manifests a
sustained dominant pitch in the voice and piano. The melodic
figure that appears in the treble of the piano part tends to
enhance the leading tone of D minor, and the descending leap
from the dominant to the tonic note in the yoice and the bass
of the piano part brings the song to an effective close.
In the vocal part of "Rain has Fallen" the composer
captures the melancholy, lyric quality of the poem with the
short haunting motive that is stated twice (the motive is
varied in the second phrase) in each section.Like the
harmonic pattern, it appears to "feel its way" to a suitable
resting place.
Ex. 727
M o T iv e ^
Rain Has ja U en TKe Jay 0 Come iJtoong tl*. laJLentries
27. Ibid.
26
Mr. Quillian makes the following statement about
the vocal line of this song:
Strangely enough the voice line does not seem

to flow as easily as one expects from Barber.
There is a disturbing tendency to let the voice
simply drop a fifth. When this happens for the
third time in this short song, at the final
cadence, and when the piano part also drops a
fifth, I feel that the whole effect of the song
is dissipated and the listener left wondering
what has happened.2
Despite Mr. Quillian's statement, the drop of the fifth seems
most suitable in view of the rather chromatic, "wondering"
melody.
"Sleep Now," the second song in Opus 10, is a
setting of a poem of three stanzas of four lines each. With
the exception of the second stanza, the lines are unrhymed.
The form of the song is three-part episodical with a short
postlude. Generally speaking, the harmonic progressions
follow the traditional, functional type of harmony, and
although third-relationships are used, root movement by fifth
predominates. The chords are derived from the tertian system,
with the diminished-minor seventh chord being particularly
emphasized. The tranquil first and last sections enclose an
agitated middle section, in which exemplary use is made of
28. James W. Quillian, "The Songs of Samuel Barber," 19.
27
a stormy figure outlining a ninth, a figure that returns

in the coda section.
The interval of a second (a major second from F
sharp to G sharp in this song), which in several of Barber's
later compositions becomes almost a trademark, is supplemented
in the second measure by a minor third, and the resulting
vertical structure is a G sharp diminished-minor seventh.
(See Example 8 , m. 1-2.) The movement of this seventh chord
to one whose root is F sharp is the most significant harmonic
movement of the first and third sections.
Ex. 829
A n j i t i t t tr&nû.illo J = 40 _lf6
IV
OKt
SWep m w 0
con
28
Although the key of the first and third sections
is P sharp minor, the composer frequently uses the F sharp
major triad in place of the tonic-minor triad. When the
identifying minor third is added to the P sharp sonority
(note the piano part in the third measure of Example 8 ) a
ninth is also present. Actually, in part one, the P sharp
minor triad is outlined only in passing (m. 9 ) on the second
half of the beat. The hocket-like treatment at the cadence,
which can also be observed in the fourth measure of Example 8 ,
is again used in measure 8 . Although an F sharp major triad
is outlined at the cadence in measure 8 , the rhythmic stress
is given to the diminish-minor seventh chord E^GÊ^D^,
which acts as an altered VII^ in P sharp minor. An
extension of the cadence finally leads to a G sharp
diminished-minor seventh in measure 10. The first section of
the ternary form, disregarding the cadential extension,- ends
in measure 8 . Although there is room for question, it appears
that this is an example of a "closed 3-part f o r m . "3
The "storm" begins in measure 10 with the intro
duction of the four-note figure for part two note the
interval of a ninth.
30. Cedric Thorpe Davie, Musical Structure And Design

(London: Dennis Dobson, 19^3)t 35.
29
Ex. 931
noSJO e
Both the vocal line and the piano part emphasize the interval
of a ninth. There are several intermediate harmonic goals in
the B section. A cadence is made in B flat minor at the
change of key in measure 13 the G natural in the vocal
part (m. 13) has a Dorian flavor. After passing through C
minor in measure 14, with a suggestion of F minor in measure
15, the tonal center moves to A flat minor (m. 16-19). The
fermata chord in measure 1 9 , which gives a suggestion of a
half cadence on the dominant minor-major ninth of A flat
minor, is followed by a G sharp diminished-minor seventh chord
outlined in measure 20. Part 3, or A2 (m. 21), presents the
same material that was used in Part 1, but in a modified
form. The postlude or coda begins in measure 29, and, as was
previously mentioned, the four-note figure that was used in
the B section is reiterated.
31. Ibid.
30
The vocal line is prevailingly diatonic for the
entire song and does not present any specific problems.
Opus 10, No. 3 j "I Hear an Army," is undoubtedly-
performed more than any other song that Samuel Barber has
written to date. InMusical Opinion,Harry Dexter makes the
following statement:"The third of this set, 'I hear an
army,' I count as one of the most important of modern songs. "32
It.is a powerful setting of a poem which is in
essence a "dream-vision." A vigorous, strident figure for
the piano, starting forte, most vividly brings to life the
opening lines of the poem: "I hear an army charging upon the
land, And the thunder of horses plunging, foam about their
knees: . . . The poem is made up of three stanzas of
four lines each, the first and third lines of each stanza
being rhymed. For the first section the composer alters the
metrical pulse of the music to fit the irregular rhythm of
the text. It is difficult to find a meaningful classification
for the formal design of this songj it suffices to say that,
barring key relationships, the formal pattern is somewhat
suggestive of a rondo. There are three salient musical
entities that bring about formal cohesion. The first,
32. Harry Dexter, "Samuel Barber and His Music," 3^-.
31
Motive 1, is the vigorous rhythmic figure in the accompaniment,
consisting of an eighth and two sixteenth notes, which pervades
almost the entire song. (An eighth note rest is frequently
used in place of the first eighth note in this figure.) The
intervals of a fifth, and, particularly the octave, are
stressed in this motive. Motives 2 and 3 (Motive 3 shows a
close relationship to Motive 2) conclude the presentation
of the principal material. The following example shows
Motive 1 and Motive 2:
Ex. 10 33
jt ] A ll e g r o con ju.oco J r ll6 p M o tiv e 2
M o tiv e 1 I har_ a n __
m
il
33. Copyright 1939> G. Schirmer.
32
Motive 3 appears in measure 17 in the piano part:
Ex. II34
M o tiv e 3
Each motive retains its basic rhythmic structure each time it
appears. A perfect fourth is stressed at the head of each
motive, and the high note of each motive is followed by a
descending half step. The over-all key is C minor, the
original key, and while not all of the harmonic progressions
can be identified as traditional, there is nevertheless much
evidence of the traditional, functional type of harmony.
Two musical sentences are used for each stanza of
the text. Each sentence is clearly divided into an ante
cedent and a consequent phrase, and, with only two exceptions,
each antecedent phrase is begun with either Motive 2 or
Motive 3- It is this alternation between these two motives
that is somewhat suggestive of rondo treatment.
34. Ibid.
33
Motive 1, which provides a short introduction (see
Example 10), leads to Motive 2. The harmony as given in the
first three measures is incomplete, but It nevertheless
suggests the tonic, and perhaps the Phrygian or Neapolitan
relationship. At measure 5* and continuing through Measure
6 , the tonic and the leading tone seventh chords alternate.
The first sentence ends in measure 9 with an augmented triad
on A flat in C minor appearing as a cadence chord. The
vocal part also outlines this triad in its descent to the
E natural.
The melodic line of the second sentence, which
begins with the words, "Arrogant, in black," outlines an
augmented-major seventh chord on E flat. While neither
Motive 2 nor Motive 3 is used in this section, a reference
is made to Motive 2 in the vocal line in measure 12.
The tonal center shifts temporarily to E flat minor, but
returns to the dominant triad of C minor at the cadence
(m. 17) that concludes the first stanza of the text. The
cadence itself emphasizes the third relationship a C flat
major triad moving to a G major triad.
Motive 3 is introduced by the piano in measure 17.
This section from measure 17 to 20, a bridge passage, occurs
over a dominant prolongation in the key of C minor. At the
34
same time that a strong harmonic cadence in C minor is
reached (m. 21) the vocal line introduces the Motive 3
along with the second stanza of the text. The antecedent
phrase of this section ends on a C minor triad in measure 23.
As the root of the penultimate chord to the cadence in
measure 23 is D flat, the Phrygian second degree, or
Neapolitan relationship, is in evidence.
Motive 1 (m. 25) is transferred to the treble of
the piano part at the outset of the consequent phrase and a
sequential pattern is set up. The tonality from this point
to measure 38 is not clear.
The vocal line of the second sentence, which
concludes the text of the second stanza, is made up of Motive
2 over Motive 1 (elaborated) in the treble of the piano part.
In measure 36, a whole tone triad is outlined. This chord,
which may be considered as an altered dominant, leads strongly
to the harmonic goal of D flat major. As before, the text
of the next stanza is begun at the same time the harmonic
cadence is made.
The first sentence, which concludes the text of the
first half of the third and final stanza (m. 42-47), utilizes
Motive 3 in both the piano and vocal part. It is conceivable
35
that the material used in the consequent phrase of this
sentence, beginning with the anacrusis in measure 42, is
derived from both Motive 2 and Motive 3- The tonality shifts
from D flat major in the antecedent phrase to E flat major
and E flat minor in the consequent phrase. The cadential
extension of the consequent phrase (m. 46-47), outlines a
C flat major triad and a C flat major seventh chord
respectively. The material, which is used in imitation at
the octave below, is clearly derived from the head of Motives
2 and 3. The harmonic movement of the C flat major seventh
chord (m. 47) to a G major-minor ninth at measure 48, again
stresses the third relationship. This ninth chord on G, which
is retained from measures 48 to 51> provides a dominant pro
longation to the tonic key of C minor.
The last couplet of the poem, which begins with
the words "My heart, have you no wisdom thus to despair?", is
introduced by neither Motive 2 nor Motive 3. The latter does
occur, however, in the bass of the piano part in measure 5 0 .
The climactic point of the song is reached in measure 54,
following extended dominant and tonic pedals. In the
concluding section the consequent phrase of this sentence
(beginning after the fermata chord in measure 54) again
restates Motive 3> over continued tonic emphasis.
36
In the coda, beginning in measure 57 and extending
to the end of the song, Motives 1 and 3 again appear over a
C major triad. The stress that is placed on the note D flat
in this section further enhances the Phrygian or Neapolitan
relationship. The song ends on an open fifth, C-G, which is
reinforced by octave doubling.
These three songs present a decided step forward
from those of Opus 2. The vocal line is much freer and more
chromatic, and the piano part, instead of revolving around
the vocal line, is an independent, although still integral,
part of the whole.
Opus 13
No. 1 "A Nun Takes a Veil"

No. 2 "Secrets of the Old"
No. 3 "Sure on This Shining Star"
No. 4 "Nocturne"
The four songs in Opus 13 are settings of poems by
Gerard Manley Hopkins, W. B. Yeats, James Agee, and Frederic
Prckosch. With the exception of "Nocturne," the musical
settings perhaps risk banality in their simplicity; at least,
Harry Dexter states that the first three songs in Opus 13
"come as something of a shock after the songs of Opus 1 0 ."35
He feels that the vocal line of the first three songs in
Opus 13 is far too restricted in range and expression, and
that the piano part is merely a succession of what he calls
"common chords." In spite of Mr. Dexters opinion, however,
it would seem that the composer is not at all ashamed to use
the most simple settings in order to convey what he believes
to be the message of the poem.
The first song, "A Nun Takes a Veil," a setting
of an early poem by Gerard Manley Hopkins, ?.s written in
1937. The caption of the poem is "Heaven-Haven" with the
subtitle "A Nun Takes a V e i l . "3^ The poem is made up of
two stanzas with a rhyme scheme of ABBA. The meter does
not adhere to a regular pattern, and the composer has very
carefully adapted the music to the irregular rhythm of the
text.
The song is only twenty-two measures in length,
consisting of a double period, or two sentences, the
antecedent phrase of each sentence being the same. While
35. Harry Dexter, "Samuel Barber And His Music" (March 1949),
286.
3 6 . Poems of Gerard Manley Hopkins, ed. Robert Bridge (London
Oxford University Press, 1931), 8 .
38
the cadential pattern is the same for each consequent phrase,
the beginning of the second consequent phrase is different
from that of the first. The chord structures are clearly
derived from the tertian system, being for the most part
triads. The diminished-minor seventh chord, which also
assumed an important harmonic role in the song "Sleep Now,"
is again stressed at the close of.each sentence. The tonal
center is D, and although the emphasis is on the Phrygian
scale, a free "interchange of mode"^ over a single tonic
is apparent. The root movement of chords is predominantly
by seconds and fifths, the chord progressions for each
sentence being basically the same.
The first sentence ends (m. 9-10) with a half
cadence on what might be termed the Phrygian dominant
(ACE^G). Following an extension of the phrase (m. 10-11),
which provides a link between the two sentences making up
the song, the "true dominant" of the minor mode on D (ACÊ)
appears in measure 12 leading to the second sentence.
The initial chords of each sentence are arpeggiated
in the piano part, which is always just an accompaniment for
37. John Vincent, The Diatonic Modes in Modern Music (New

York: Mills Music, Inc., 1951)* 237 Discussion of
"Interchangeability of Mode."
39
the simple vocal line. By means of this apparent simplicity
the composer has certainly evoked the mood of the Hopkins
poem.
The second song in Opus 13 is a setting of the
poem, "Secrets of the Old," by W. B. Y e a t s . W. B. Yeats
wrote a group of eleven poems under the heading, "A Man Young
and Old." "Secrets of the Old," the ninth one in the group,
was written in 1928;39 it consists of three stanzas of
six lines each. In the first two stanzas, the second, fourth,
and sixth lines are rhymed. In the last, "slant rimes'1^ for
the second, fourth, and sixth lines are evident. The
rhythmic scheme is irregular.
This song was written in 1938,^ and, like the first
one in the set, is best.performed by female voice. In it we
again find much of Barber's happy faculty of fitting the
music to the rhythm of the words. The song begins in rapid
38. W. B. Yeats, The Collected Poems of W. B. Yeats (New York:

The Macmillan Co., 1^51), 22l'.
39. Ibid., xi.
40. Cleanth Brooks and Robert Penn Warren, Understanding

Poetry (New York: Henry Holt Co., 1938), b4?. "Slant
rimes" are approximate rimes. For instance, "rover" and
"lover," or "steel" and "chill."
41. Broder, 101.
40
five-eight meter with the piano providing an eighth-note
background. This accompanying rhythmic background persists
throughout the entire song, not always, however, in five-eight
meter.
The form is ternary with a very short rhythmic
introduction. The chords are limited to the tonic,
subdominant, and the dominant-seventh, and it is only the
frequent shifts in the meter that serve to disguise the
rather simple, even stereotyped, chord progressions. While
the over-all key is C minor (the C major triad is frequently
used in place of C minor), the first and third sections of
the three-part form begin with the submediant triad of
B flat major, this key being established before ultimately
moving to C.
Part 1, or A1, itself exemplifies the temcry
principle with the addition of a codetta section. The brief
diagram that follows shows the over-all design of Part 1.

o
Part I (A1 )
i ?
Introduction a b a Codetta
, m. 1 -2 m. 2-7 m. 8-12 m..13-18 m. 19-28
B : vi IV and V' I (mixolydian) Bb-> C C
41
The text of the poem is not equally distributed over
the three sections that make up the ternary form. Section 1
(a^) utilizes the first stanza of the text, and the first
three lines of the second stanza. Section 2 (b) is limited
to the last three lines of text of the second stanza, and
Section 3 (a^) includes the last stanza of the text.
Part 2 (B) retains the characteristic accompaniment
figure in five-eight meter as the vocal line adheres to the
iambic pentameter of the text. The key throughout this
section is clearly C minor, ending in measure 38 on the
dominant triad. This triad is not resolved to the tonic,
but is, instead, succeeded by a G minor triad. The G minor
triad then functions as the submediant chord in B flat major
as at the beginning, and a return is made to the key of B flat
major and the beginning of Part 3* which is a literal
restatement of Part 1 without the codetta section. There is
a three-measure extension of the cadence chord of C major at
the conclusion of the song.
"Sure on This Shining Night," the third song in
this set, is based upon one of the poems in the first book
entitled Permit Me Voyage, by James Agee, a young American
42
42
poet of about the same age as Samuel Barber. It consists
of two stanzas of four lines each with the addition of a
final couplet. The rhythmic scheme is irregular, only the
second and fourth lines of the first stanza being rhymed.
Although the song is an unpretentious one, it is

43
one of the best of the early period. The vocal line is
one long, flowing melody from the beginning to the end, and
the piano writing is an important aspect of the ove-r-all
design rather than a mere accompanying part. This is the
first song in which the voice and piano are treated in
canonic imitation. The chords and the harmonic progressions,
as in the first two songs in this set, revolve around a key
center, falling into functional patterns. The chord structures
are clearly derived from the tertian system, simple triads
again predominating. On the basis of key, the formal
pattern can be classified as ternary.
Over the tonic triad of B flat major, introduced
by the piano in measure 1, the voice, acting as the leader
42. James Agee, Permit Me Voyage (New Haven: Yale University

Press, 1934), 14.
43. Broder, 101. "Sure on This Shining Night" was written in

1938.
43
in the canonic imitation, begins the melody^4 in measure 2
(Part 1, A1), and the piano (m. 3) imitates the vocal line
a minor third higher (see Example 12). The imitation is
tonal rather than real as slight adjustments are made in the
follower in order to retain the key of B flat major. The
antecedent phrase ends in measure 4 with the mediant triad
acting as a substitute for the dominant on the cadence chord.
Ex. 12^ 5
A n JU n te J = i"0 p M o tiv e
V oite
44. The motive that is used in this melody is again employed

by Barber in his Essay for Orchestra, which was also
written in 1938. *fhe writer is indebted to Professor
Albert T. Luper for pointing this out.
44
The voice, which begins the consequent phrase in
measure is answered by the piano at the major third above.
The consequent phrase ends in measure 9> and a common chord
modulation is made to D minor.
Part 2 (B) begins in measure 10, and the climax of
the song is reached in measure 13 on the word "All." Only
the head of the melody as it appears in the vocal part (see
Example 12, bracketed notes) is treated in imitation in the
second part, being answered by the piano at the fourth below.
The cadence at the end of the antecedent phrase in this
section strongly suggests what has been termed the "Landini,"

hfi
or as Gustave Reese prefers, the "under-third cadence":
i.e., the leading tone moves down to the sixth scale degree
before moving to the tonic. ^
The consequent phrase of the second part (m. 17-20)
prepares for, while avoiding the return of the tonic of B flat
major. The melodic movement in the piano part (m. 19-20) at
46. Gustave Reese, Music in The Renaissance (New York: W. W.

Norton Co., 1954), 44.
4?. The similarity of the head motive as used in this song

with that of the Essay for Orchestra is again vividly
apparent from measures 1 6 to 16. Here the note values
of the head motive are similar to those used in the
Essay.
the conclusion of the phrase, is again suggestive of the
so-called "under-third cadence."
Part 3 (A^) is a literal restatement of Part 1.
It should be noted, however, that the piano now acts as the
leader and the voice as the follower in the imitation. The
plagal cadence that occurs at the conclusion of the last
couplet (m. 29-30 ) is succeeded by another, more simple one,
which extends the sentence, and the piano part brings the
song to a close in measure 34 on the tonic triad of B flat
major.
The concluding song in this set, "Nocturne," is

2iA
based on a poem by Frederic Prokosch. The poem consists
of five stanzas of four lines each with a rhyme scheme of
ABAB. In his setting, the composer has chosen to omit the
third stanza of the poem.
The feeling of this darkly passionate poem has been .
fully captured by Barber's somewhat turgid setting. The
sextuplet eighth-note rhythmic pattern that pervades the
entire song is somewhat reminiscent of a similar pattern that
was used in the earlier song, "Rain Has Fallen." The thematic
48. Frederic Prokosch, Chosen Poems (New York: Doubleday Co.,

1947), 13.
46
material here consists of two melodic entities: the first
melody, which is used for the first and third stanzas of the
poem, will be designated as A; the second melody, used for
the second and fourth stanzas of the poem will be referred to
as B. The following diagram of the formal scheme is based
solely on the thematic material.
Intro. A B A B
Measure: 1-2 3-13 14-24 25-34 35-47
Coda - Intro. Material

47-50
This song presents a problem in harmonic analysis
of a sort that has not occurred up to this point. The
accompaniment stresses the linear approach, and it is often
difficult, if not impossible, to determine which note, or
notes, belong to any given vertical structure. Furthermore,
it is generally impossible to ascribe a clearly predominant
key center to any section or portion of a section. As the
resulting vertical structures appear to be based on both the
tertian and quartal systems and combinations thereof, and, as
it is often impossible to determine the roots of the various
structures, an analysis based upon scale formations seems
most feasible. The first degrees of the various scales will
be determined by ascertaining the root, or root representative
for, the apparent prevailing vertical structure. In the
47
example below, measure 1, D sharp is the root of the first
vertical structure, and it therefore acts as the first degree
of the scale. When the root is ambiguous, other reasoning
must be used to determine the first note of the scale. After
the scale formation is determined, the tonality at any given
point can be hypothesized. The scale formation below
emphasizes the tonality of D sharp minor that begins and
ends the composition. Most often the changing scale forma
tions can be determined in respect to the phrase or sentence
structure, although in some cases it appears more reasonable
to begin a new scale formation at the cadence-measure of a
phrase rather than at the beginning of the new phrase. The
changing scale formations will be designated in the discussion
that follows.
The song begins with a two-measure introduction in
the piano part. The sextuplet rhythmic pattern, which
emphasizes intervals of a perfect fourth, establishes the
mood of the poem. It is derived from the following scale
formation:
48
Ex. 1349
A n d a n t e , u p o co v n o jfe J > 5 8
P <3oUe e i osteiuto
The first melody, A, begins in measure 3. (See
Example 14). It consists of a complete sentence which is
divided into two equal segments. The consequent phrase is,
with the exception of the last note, merely a repetition of
the antecedent phrase transposed up a major third. The scale
formations are also transposed to the same interval.
49
Ex. l450
L-
*
clot e *ny da >oth y o u r ' j
7P g r - f
% 5
=
jpM f- W
9-
t p ' 1 - 4 -

m r = S k
The first sentence is ten measures long, and it
seems to be divided by the scale patterns into four, four,
and two. A reference to the first beat of the preceding
example will show a G natural and E in the piano part and an
A natural in the vocal part. The major sixth interval G up
to E with the root representative of E was selected, and the
scale formation was begun on E:
E F# (G -(/) (A -A^) BC^D E 51
50. Ibid.
51. The "Interchangeability of Mode" as expressed by John

Vincent, The Diatonic Modes in M o d e m Music, 23, can
be observedin this scale formation: both G natural
and G sharp are used as the third scale degree; A
natural and A sharp are used for the fourth scale
degree.
The minor tetrachord appears to he the most prominent in this
phrase. Although the descending bass line (G down to B) in
the piano part outlines a fragment of the Lydian scale on G,
the scale formation on E nevertheless seems to predominate.
The accompaniment figuration stresses the interval of a
fourth, and while the fourth is also used vertically, the
intervals derived from the tertian system predominate through
measure 6 .
The scale pattern moves down a minor third to C
sharp in measure J, and outlines the major mode:
C#CX or DE^F#G#A# (B^-B^) (/.
This scale pattern is used from measure 7 through measure
10. The vertical structures are derived primarily from the
tertian system the first beat in measure 10 , however,
being a fourth-chord on E sharp.
In measure 11, the scale pattern shifts to B
natural. The harmonic movement from the fourth beat of
measure 11 to the first beat of measure 12 provides a
dominant to tonic progression in B minor. The vertical
harmony in measure 11 strongly suggests the dominant
harmony of B minor; the scale formation also indicates
B minor (see page 51).
51
B C#D EF^ (G -G^) A#B .
The harmonic movement of the introduction and the
first sentence can be summarized as follows: the introduc
tion is based on a scale of D sharp minor; in measure 3, at
the beginning of the antecedent phrase of the first sentence,
the vertical harmony is derived from Dorian scale on E; in
measure 7 , at the end of the first phrase, the vertical
harmony is based on the major mode on C sharp; the B minor
scale is used to end the consequent phrase. Although there
are several different scale formations in this section, the
important harmonic movement is that from D sharp minor to
B minor.
The second stanza of the poem, along with the
second melody, B, begins in measure 14 (see Example 15).
Note that the head motive of this melody is derived from
the first sentence (see Example 14, measure 2). This
entire section, from measure 14 to measure 24, is based on
only two scale formations, and the vertical structures are
derived primarily from the tertian system. A scale built
on G sharp is used for the antecedent phrase of this, the
second sentence, and a scale built on B is followed by the
scale on G sharp, which concludes the section. The scales
are as follows:
52
The B melody itself is less chromatic than the A.
Ex. 15^2 Melody B

H5]
.. * x: + . , j*... *).^c ..... d.-
waves a._crojj these. Kope less F ill m y Keart-----^ iiy
w/
j -tpLj-i [CU*P- y r J [ p g r L*J J-
<
ft--
The B major scale formation is used for only two
measures (m. 17-18) in this entire section. The changes
from the G sharp scale (m. 14-16) to the B scale (m. 17-18)
and again back to G sharp (m. 19) are significant aural
divisions. As in the first section, the emphasis is again
on the third relationship.
52. Copyright 19^1, G. Schirmer.
53
The fourth stanza begins in measure 25 (as
previously stated, the composer has omitted the third
stanza) and the A melody returns. The antecedent phrase
is essentially the same as it was before. The scale
pattern on E natural is again used, and in measure 29, the
pattern shifts momentarily to C sharp. In measure 30,
however, the consequent phrase is now transposed up a minor
second, being also slightly altered at the end. The
following scale formation is used for measures 30 through
33:
ABA (D-D^) EF^GA.
The consequent phrase ends in measure 34, where
the vertical harmony is very definitely a C sharp major triad.
This section therefore begins with a scale built on E and it
ends on a C sharp major triad. The third relationship

JL
(E to C ) is thereby again apparent.
An exact restatement of the B melody, beginning
with the words "Northward flames Orion's horn," and extending
from measure 35 to 43, appears transposed up a major second.
A scale built on A sharp, or, enharmonically, B flat, is used
from measure 35 through measure 42 (see page 54).
54
A#B#C#D# (E _E# or F ) q (A -a #).
In measure 43 the scale built on G sharp again
returns. The last five measures of the song (the last four
measures being considered as a coda) are again based on the
scale of D sharp minor, closing on a D sharp major triad.
The method of harmonic analysis based upon scale
formations rather than keys and the traditional Roman
numeral approach (I-IV-V-I etc.), is not, of course, a new
procedure. When one states that a composition employs a
tone series or that the pentatonic or heptatonic scale
predominates, he is emphasizing a scale-formation aspect.
It should be pointed out that the presence of these scale
formations does not preclude the existence of key centers or
of traditional, functional harmony in a work. However, this
means of analysis does provide a useful concept when key
centers are vague or ambiguous.
Opus 18
No. 1 "The Queen's Pace on the Summery Coin"

No. 2 "Monks and Raisins"
The first song in Opus 1 8 , entitled "The Queen's
Face on the Summery Coin," is based on a poem by Robert
Horan, a personal friend of Samuel Barber, who indicates that
55
the words of this poem have been used by "exclusive
permission. 11 The poem is not separately published at the
time of this writing.
The text of the poem is somewhat bizarre (almost
surrealistic), the musical setting being conceived in such
a manner as to reflect this quality very effectively. There
are many false relations, and there is virtually no feeling
of harmonic progression in the traditional sense. As the
key centers, however, are mostly quite clear, the present
discussion will be based upon them rather than on scale
formations. The form of the song is ternary with a brief
introduction and coda.
The introduction to a\ Part 1, is built upon the
ascending third, f sharp to a, establishing the tonality of
F sharp minor. The accompaniment is composed of a simple
two-part canon-like texture, featuring false relations. The
persistent use of B flat (=A$) and A natural in both the voice
part and the canonic imitation, constitutes the false rela
tion; the triad that cannot decide whether it is major or
minor adds a plaintive note to the poem's expression of
futility (see Example 16).
56
Ex. 1653
A v tia n te cov\ vnoTo J = 8M

El
86
'ong )- w
ppp
Cjtietn'i ontti* Sum.Mtf.y coin
i i " *
<y
RfcVtO1
*
[p C - r _ U J
I
The tonality of Part 1 is P sharp minor to
measure 14, the harmony being static centered on f sharp.
A sudden shift is made in measure 15 to E flat major and
minor simultaneously, the minor mode predominating in
measure 16. An altered subdominant chord in measure 17
becomes an altered submediant chord in the key of C minor.
This resolves to the tonic of C in measure 18. By addition
of another third the tonic becomes an augmented-major seventh
chord (m. 1 9 ), but finally the chord is reduced to a simple
major triad that closes this section in measure 2 0 .
57
Part 2, B, begins in measure 21 and extends to
measure 33. It, too, is characterized by the exploitation
of the false relation. Both the harmony and the tonality
are very unstable, the emphasis is on the chromatic scale,
no key being definitely established. The material is
treated in a sequential manner:
Ex. 1754
c\ocK wh( r e o n 'th e Kur & p o \ti u y
The composer seems to have captured the mood of the text
throughout this section. The "copper clock of destiny"
appears to be ticking away, and the instability of this
entire musical setting lends itself to the expression of
futility. The rigidity of the bar-line is often overcome,
and the composer is quite daring in his accentuation of the
58
words. The final chord of this section (CÊ^G^) in
measures 32 and 33 serves as the dominant of the tonic key
of ..the last section. This is the only chord in the middle
section that seems to have a definite structural and tonal
function.
p
Part 3* A , is a short restatement of the first
motive, which is associated (as in the beginning of the
composition, see Example 16) with the false relationship.
The opening mood of the song is reestablished as well as
the tonic key of F sharp minor.
The coda begins in measure 39 and extends through
measure 40. Nathan Broder states that the last two measures
of this song manifest p o l y h a r m o n y . 55 Accepting this inter
pretation, the composer appears to combine the tonic and sub
mediant triads. The D sharp minor triad is clearly outlined
on the first beat, and the strong open fifth in the bass
(l/-A# ) along with the P sharp in the treble, in effect,
combines the submediant tonality with the tonic. The close
identity of the tonic with the submediant, and the use of
the submediant triad as a substitute for the tonic, can be
observed frequently in other works of Samuel Barber.
55. Broder, 50.
59
The second song in Opus 18, entitled "Monks and
Raisins," was written in 1943* one year later than the first
one.The poem was written by Jose Garcia Villa,57 and
also somewhat surrealistic; see, for instance, the first
stanza:
I have observed pink monks eating blue raisins.

And I have observed blue monks eating pink raisins.
Studiously have I observed.5o
The composer sets the poem in a rapid seven-eight
meter. The form of the song is ternary with a short rhythmic
introduction and coda.
The tonality for the first part, A1, is clearly F
major (see Example 18). As in the first song of this set,
there is almost no feeling of harmonic movement up to measure
7. The persistent use of the interval of the second seems
in keeping with the humor of the text. The ostinato-like
pattern in the bass of the piano part outlines the tonic
triad with added ninth:
56. Broder, 102.
57. Jose Garcia Villa, Have Come, Am Here (New York: Viking
Press, 1942), 62.
5 8 . Ibid., reproduced by permission of the Viking Press.
60
Ex. 18 59
AUe^ro
I lavt ob icrved pink PlonKi C it.in j bUe r a t.S im .
vnp f l o w i n g
mm.

In measure 8 the pattern shifts to D major leading
to Part 2 of the ternary form. The B section, like the text
itself, is divided into two parts. The first is predominantly
in the key of D major. A shift is made to E flat major as
the second part begins (m. 17), passing then through B flat
major (m. 21), and on to G flat major (m. 25). At measure
30 the texture is thinned to the interval of an augmented
sixth (G^ to E ), which is then resolved to the tone F.
Part 3, A , begins in measure 31 as the tonic key
of F major is reestablished. The first sentence of Part 3
is somewhat altered, but in essence it is a repetition of
6l
Part 1. Part 3 is somewhat extended, as it includes the
summation words of the text: "My joy was to see the blue
and the pink counterpointing." The tonal center shifts back
to P major when these words of the text are introduced, and,
as in the previous song, the composer choses to end on what
can be regarded as the submediant triad rather than the
tonic. Although this last chord is incomplete, the use of
the pedal in the penultimate measure sustains the complete
major-minor seventh chord on D.
These two songs in Opus 18, "The Queen's Face on
the Summery Coin," and "Monks and Raisins," represent a
landmark in the career of Barber as a song writer. He seems
to cast off the chains of extreme conservatism by the
extraordinary complexity of interplay between the voice and
piano. He handles the unusual rhythmic patterns with
complete confidence, and the harmonic progressions are
"conditioned by the juxtaposition of freely flowing lines,
which themselves have the appearance of harmonic patterns."
Knoxville: Summer of 1915, Opus 24
This work was commissioned by the distinguished
60. Harry Dexter, "Samuel Barber and His Music," 344.
62
American soprano of the Metropolitan Opera Company,

6l
Eleanor Steber, Completed in 19^7 it was first performed
by her with the Boston Symphony Orchestra under the direction

62
of Sergei Koussevitzky on April S, 19^8. The original score,
which calls for large orchestra, and a later version for
soprano and chamber orchestra can be bought. The latter
version is used in the formal analysis.
The prose text, which summons the thoughts and
feelings of a young child who is lying on the grass on a
summer evening surrounded by his loved ones, is taken from
the last part of an autobiographical essay by James Agee.
The part that is used in the composition is printed in full

63
in the score and on the jacket of the record.
In form this long, one-movement work (18 minutes)
approximates a five-part rondo with an introduction and

1 2 3
coda (Introduction A BA CA Coda). The short introductory
phrase (see Example 19) employs effective contrapuntal
61. Broder, 6 3 .
62. Ibid., 102.
6 3 . Recorded by Miss Steber and the Dumbarton Oaks Chamber

Orchestra, William Strickland conducting (Columbia
ML2174).
fill
writing for the oboe, clarinet, and bassoon with the harp
softly sounding an open fifth on F sharp. The interval of a
seventh, which is a significant part of both the melodic and
harmonic elements, is emphasized in the oboe melody and
again by the first violin in measure 5 .
65
Ex. 19
The A1 section (m. 6-40) is a ternary form

2
(axba the lower case letters indicate the smaller
divisions within the larger A"*" section), in which a rocking
melody that serves as the theme is introduced by the voice
64. While the score indicates English horn, the printed

instrumental part is for oboe and sounds as written.
6 5 . Copyright 1949* 1952, by G. Schirmer, Inc., New York.
64
(see Example 20) over a repeated melodic figure in the flute
and a chordal pattern in the harp. The tonal center through
out the first part of the ternary form (a1 , m. 6 -1 9 )
oscillates between F sharp minor and A major. While major
and minor triads and major seventh chords predominate,
several fourth chords and an occasional ninth chord are used.
66
Ex. 20
Aula.*ite u n Poco *noiio j.-.si
a - p
Voice
FI.
H*p.
Clr
1: i 1 . A - 1. i 11 1
. - . I 1.
vi*.
Vc.
W>~
PP
The general character of the music is unchanged in
the short b part (m. 20-27), but the tonal shift to B major
supports a formal division. The a2 part follows in measure
28 beginning on an F sharp major triad and leading to a
transitional phrase (m. 30-40) that ends on a B major triad
with an added second.
66. Ibid.
65
The quiet, rather nostalgic mood is suddenly dis
turbed as the section begins (m. 41-99). A short motive,
which especially emphasizes the intervals of a seventh and
a ninth, and the articulated sixteenth-note patterns that
follow in the winds and strings, suggest the "iron moan" of
a passing street car, the subject of this section.
Ex. 21
V/ltt.X dtv.
&SSVV
67. Ibid.
66
The pizzicato treatment of the sixteenth-note pattern in the
lew strings quoted above (m. 71-75) effectively points up the
words "the bleak, spark crackling and cursing . . . " sung in
staccato fashion.
The tonal center is unstable until measure 64. E
serves as the tonal center from measures 64 to 83 , passing
then through P and C and returning to A major as the
transitional phrase begins (m. 99-113).
As the strings sustain an A major seventh chord,
the short motive of the B section (see Example 21, m. 1),
which merges in character with the main melody of the A
sections because of the stress on the interval of a seventh,
is treated in imitation by the oboe, flute, clarinet, and
bassoon. The remaining part of the transitional phzase
(m. 103-114) consists of a series of arpeggiated seventh
chords treated by the voice and the orchestra.
The tranquility of the evening returns as the
abbreviated A2 section begins at measure 114. The altered A
melody appears in the voice and strings with the repeated
eighth-note pattern (see Example 20) being shared by the harp,
flute, and bassoon. A counter-melody, which was used in the
B section (m. 81-90), is treated in free imitation by the
67
strings from measure 124 to 127, leading to the beginning of
the C section at measure 128.
The C section (m. 128-217) divides itself into
three general areas. The first (m. 128-182), in which the
child contemplates the stars and then the various members of
his family, is centered in F major and F minor. The vocal
line is derived from the A melody, and the tranquil mood
of the preceding section is retained; in the second section
(m. 183-2 0 3 ), the intervals of a second, seventh, and ninth
are combined to intensify a climactic passage at the words
"By some chance, here they are, all on this earth. .
68
Ex. 2268
- By some tk a n c t
strjlliVJWlbjfe4
w.
Hi
The concluding section (m. 202) begins with the counter
melody that was played by the bassoon in the introduction
(see Example 19) now treated in augmentation. The lucid
texture and the expressive vocal line vividly support the
fervent prayer of the text. It begins in D minor and moves
to F sharp minor as the transitional phrase begins in
measure 2 1 8 .
The transitional phrase (m. 218-230) carries out
the melodic line of the last part of C and also the intro
ductory counter-melody. The rocking melody of the A section
68. Ibid.
69
returns as the child is taken in and put to bed (A^, m. 231-
c. 2 5 6 ). The coda, or orchestral postlude, again recalls the
A theme and the arpeggiated A major seventh chord. The
movement comes to a quiet close on this chord with the major
seventh high in the flute.
In addition to the cohesive nature of the form, the
melodic material throughout is closely related by virtue of
its chordal construction (Barber's predilection for chordal
melodies has been pointed out earlier in this study). The
oscillation between F sharp minor and its related major tonic
A gives additional evidence that the composer considers either
chord as a substitute for the other.
Nuvoletta, Opus 25
Nuvoletta, written in 1947*^9 is a setting of a
passage taken from James Joyce's Finnegans Wake.?0 In this
gay waltz about "Nuvoletta in her light dress, spunn of
sisteen shimmers," Barber returns to the somewhat surrealistic
manner of the songs of Opus 18.
6 9 . Broder, 102.
70. James Joyce, "Finnegans Wake," in The Portable James

Joyce, 709-759.
70
Along with some flowery comments, James Quillian
includes a statement about the structure of this song in his
article in Repertoire; he states:
. . . it is of a gossamer lightness, and as airy

as a spring breeze. A sort of rondo for voice and
piano, with a vocal cadenza wholly original, it
speeds along in a rapid three-eight rhythm. No
matter that the words are strange; the music is
positively captivating and a joy to p e r f o r m . 71
To characterize the form as a "sort of rondo" seems correct
enough. The pattern is as follows: Introduction, A1BA2CA3,
Coda. The unity inherent to the form itself is strengthened
by means of a simple motto presented first by the piano in
the introduction (see Example 23). It becomes an important
part of the principal sections (A, etc.), and appears in the
others as the work progresses. Outlining a minor seventh
chord, it exerts a noticeable influence on the chord
structures (see Example 23).
71. James Quillian, "The Songs of Samuel Barber," 21.
71
Ex. 2372
AUe^tto
i 1
p L.H
F $
B Stnia p3le
z
The harmony is the result of the interaction of
the tertian and quartal systems, tonal clarity being insured
by means of strong melodic movement in the bass, which
emphasizes important diatonic scale degrees. This process
may be observed in the example below, where the principal
melodic material for the A sections appears in the vocal part
and the right hand of the piano (see Example 24).
72
Ex. 2 $ 3
vo-
.L
The key of E major is retained throughout the A
section. At the beginning of section B, which extends from
measure 5^ to approximately measure 76 or 77 , the tonality
shifts to A. In this section, which deals primarily with the
motto itself, the composer permits himself a kind of musical
literalness never before employed in his songs: at "She
sighed after herself as were she born to bride with Tristis
Trictior Tristissimus," Barber uses a quotation from Tristan
and Isolda (m. 71-75). The t? section that follows (m. 83-
86), is concluded by a chant-like setting of the words
"Prom Vallee Maraia to Grasy aplaina, dormi must echoj"
73. Ibid.
73
The C section, which is marked by a decided change
in tempo and style, extends from measure 104 to measure 120.
Of particular interest is the tone painting on the words:
"the tears of night began to fall, first by ones and twos,
then by threes and fours, at last by fives and sixes of
sevens"; the left hand of the piano part plays first a
quarter note, then -two eights, a triplet, four sixteenths,
a quintuplet, sextuplet, and septuplet, outlining a unison,
second, third, fourth, fifth, sixth and seventh respectively.
This is followed by a vocal cadenza that leads to an
abbreviated return of the A material (A^) in the tonic key
of E major.
The coda (m. 155 to the end) consists of material
derived mainly from the head of the A theme (see Example 24)
and the motto. The final chord is an open fifth (E-B) with
an added F sharp.
Melodies passageres, Opus 27
Melodies passagferes is a cycle of five songs on
poems written in French by Rainer Maria Rilke (1875-1926) . ^
74. E. M. Butler, Rainer Maria Rilke (Cambridge: University

Press, 1941), 13 and 3 8 1 .
74
An English translation of each poem is included in the
Collected Songs of Barber.^ Completed in 1 9 5 1 this cycle
was first performed in a New York recital by Pierre Bernac,
baritone, and Francis Poulenc, composer and pianist, on
February 10, 1 9 5 2 . ^ Henry Cowell and Richard L. Goldman,
writing in the Musical Quarterly, made the following
comments about these songs:
Barber's songs seemed perfectly at home, or

completely naturalized, and it is with high
praise to write that on a program with songs
of French composers, including Poulenc himself,
they remained distinguished.
These five songs are comparatively short, and with
the exception of the fourth, no obvious tone painting is
employed. The distinguishing feature of each song lies above
all in its consistent delicacy and lack of pretentious
mannerism.
75. Samuel Barber, Collected Songs (New York: G. Schirmer,

Inc., 1955)*
76. Henry Cowell and Richard L. Goldman, "Current Chronicle,"

The Musical Quarterly XXXVIII (July 1952), 435-437.
77. Program Notes, Town Hall, February 10, 1952.
7 8 . Op. cit., 435 (Samuel Barber dedicated this cycle to

Francis Poulenc and Pierre Bemac).
75
No. 1
"Puisque tout passe"
This short song (nineteen measures long) is
constructed in the form of an arch. Predominantly in the
key of B minor, it begins in the piano with the principal
figure of the piece, which is another instance of Barber's
predilection for melodies that outline chords of the seventh.
In the example below it will be seen that the vocal melody
begins as an augmentation of this figure:
Ex. 2579
noJr.to
Voic.*
ions ix
Us)
a
con Dtoate
76
The piano imitates the vocal line at the fifth above (m. 3),
while continuing to outline the principal figure in its
original form. The flat second degree is stressed in
measures 4 and 5.
The peak of the arch is reached in measure 9 on the
word "Chantons" with both forms of the principal figure
present. The composer seems to further capture the feeling
of resignation in "Puisque tout passe" as the tension de
creases from measure 11 to the end. The cadential extension
(m. 17 to the end) not only rounds out this song, but also
provides a subtle transitional phrase for the song that
follows. The final chord, an A major triad, serves as the
subdominant of the E minor tonality of the second song.
No. 2
"Un cygne"
o0
"The trembling image of happiness and doubt"
distilled in this poem is supported by Barber's musical
setting. A double musical sentence is set to each of the
two stanzas of the text, the concluding sentence being
somewhat altered.
80. This phrase is contained in the last stanza of the poem.
77
Throughout the song the piano supplies a smoothly
flowing rhythmic background of arpeggiated ninth and eleventh
chords, primarily centered on E up to the last sentence of
the second stanza, where a shift is made to C sharp. The
principal melody is again an outgrowth of the introductory
measures:
81
Ex. 26
| l j McxWcato J =
* voice one a v&vtce $nr
h\o\to jto
The first sentence comes to a close in measure 9.
The motive that made up the head of the sentence (see
Example 26) is taken over by the piano in measure 10,
8l. Copyright 1952, G. Schirmer.
78
providing a counter-melody to the second sentence in measure
11. At the close of the second sentence in measure 15, a
motive derived from measure 7 is used to extend the sub
dominant cadence.
With the exception of minor rhythmic alterations,
the first sentence of the second stanza (m. 17-22) is
identical with that of the other one. In measure 22 Barber
substitutes the submediant tonality of C sharp (Dorian) for
the tonic of E. (His substitution of the submediant triad
for the tonic has been pointed out before in the song "The
Queen's Face on a Summery Coin.") The motive that was used
in measures 15-16, now transposed to this new key (m. 22-2 3 ),
leads smoothly to the head motive of sentence one. A
comparison of measures 24-26 with measures 10-12 shows that
they are identical with the exception of key. The last few
notes of the antecedent phrase of this final sentence are
altered.
The coda (m. 32-36), recalling the head motive of
sentence one and the arpeggiated ninth chord on E, brings
the song to a quiet close.
79
No. 3
"Tombeau dans un pare"
This song is based on two parallel sentences,
which are accompanied by a series of fourth-chords moving
in half notes. Barber again shows his imaginative powers in
musically conveying the meaning of the poem.
Each stanza of the text is set to one sentence,
whose first phrase is based on the Dorian scale.of D, the
second on the Dorian of G. The over-all tonality is D
minor. The melodic line for the second stanza in the
second sentence (m. 18-21) shows but slight rhythmic
changes. The block chords in this section are the same
as before, but somewhat enriched in measures 17-2 1 .
No. 4
"Le clocher chante"
In their article in The Musical Quarterly, Henry
Cowell and Richard L. Goldman predicted that this fourth song
would prove to be the one most frequently heard in Town Hall.
The musical setting brings forth the transitory joy that
resounds through the clangor of the bell tower. The
82. Henry Cowell and Richard L. Goldman, "Current Chronicle,"

436.
80
fortissimo chord at the beginning of the song followed by the
rapid sixteenth-note patter provides a sharp but effective
contrast to the solemnity of the song that preceded it. This
one chord (a G minor triad with added fourth) along with the
rapid sixteenth-note figuration, which is somewhat modified
in subsequent appearances, is used throughout the song:
Ex. 2783
Novi Tropfo
This monothematic song divides itself into three
sections, each of which is set off by the same forzando chord.
As the pattern is quite obvious, a short diagram will
8 3 . Copyright 1952, G. Schirmer.
81
suffice.2*
G minor
Section 1 Section 2 Section 3

(m. 1-5) (m. 6-11) (m. 12-25)
1 sentence An almost Augmentation
1st stanza literal re of consequent
petition of phrase of
section 1 original
2nd stanza. sentence is
followed by
transforma
tions of
original
sentence.
Pinal stanza
of the poem.
No. 5
"Depart"
Although the last song is only sixteen measures
long, the deep emotion that Rilke distilled in the few lines
of "Depart" is vividly captured. Its two eight-measure
sections are unfolded in the form of an arch, whose peak
is reached at measure 12.
As in the other songs of the cycle, the principal
material is set forth in the introductory measures. A
chromatic ostinato bass, which is later transferred to an
upper part, and an ever-present head motive from the main
84. The formal design suggests the bar form (aab).
82
theme insure formal unity. The first twelve measures are
centered around D with the repeated note A serving as a
dominant pedal:
Ex. 28 85
itsyiuto
P sos
H otto Lento
wzm.
voice. flon 1 ni-e T T n & a u * it
M o tiv e
yj
F F - T -T
PSmW J o
con
At the peak of the arch (m. 12) the tonal center
moves down a third to B flat with the F major-minor seventh
chord acting as a sustained dominant. The ostinato bass is
transferred to the treble above this chord. The B natural
added to the final chord of the song seems to suggest the
"glimpse of hope" inherent in the poem.
8 5 . Copyright 1952, G. Schirmer.
83
Hermit Songs, Opus 29
According to information contained in the Collected
Songs by Samuel Barber, the ten songs in this cycle were first
performed by Leontyne Price, soprano, with the composer at the
piano, at the Library of Congress, Washington, D. C., on

86
October 30, 1953. They are settings of poems translated
from the Irish texts of anonymous monks and scholars of the

ft7
eighth to thirteenth centuries.
A notational peculiarity of this set is the
absence of time signatures. In view, however, of the many
changes that would be required by conventional notation,
this omission tends to make the metrical reading less confus
ing for the singer. The composer is fastidious in his
observation of the pronunciation and duration of each
syllable or word, and there is never any question of the
proper rhythm.
86. Samuel Barber, Collected Songs, 7^.
87. Ibid.
84
No. 1
"At Saint Patrick's Purgatory"
Although this poem consists of eight stanzas,
Barber uses only the first, second, and eighth for his
setting. This is an open ternary form^ (A^BA2 ) in which
the pilgrimage in the poem is suggested by a steady
ostinato figure in the right hand of the accompaniment. The
over-all tonality is G sharp minor (A^ and A2 ) with the B
section in D minor. The melodic line in the vocal part
again shows evidence of Barber's partiality for chordal
outlines (see Example 29> m. 4).
8 3 . Translated by Sean O'Paolian, in The Silver Branch

(New York: The Viking Press, 1938),37-38.
84. Cedric Thrope Davie, Musical Structure And Design, 35.
85
Ex. 29 90
JJJ A \ l e j r t t o (iii t t u i y v4tytliwi J .= 7 2
to Lock
T-J* TKr
Because the form presents no specific problems, the
diagram that follows will serve to summarize the presentation
of material.
B A
Meas. 1-26 26-30 31-41
G sharp minor D minor G sharp minor
(Material Block chords Abbreviated,
illustrated in with a sugges- otherwise un
Example 29). tion of the modified.
ostinato pat
tern from A
in the vocal
part.
86
No. 2
"Church Bell at Night"
As the hermit sings;
Sweet little bell, struck on a windy night,

I would liefer keep tryst with thee
Than be with a light and foolish woman.^
discordant overtones resound softly in the "Bell":
91. Translated by Howard Mumford Jones, in P. S. Allen, The

Romanesque Lyric (Chapel Hill: University of North
Carolina Press, 1928), 185. Poem reproduced by permis
sion of the publishers. (It is important to note that
the composer has changed the word order of the last line.
The translation reads: "Than be with a woman foolish
and light.")
87
Ex. 3092
M olto adagio J = H6
Wwtt i
T ^ 3
Sw t h t . t t e W l, S tr m k mi a w 'nd.y vii^rKt,
ino'
m
P S o n o rc
i
i L
|iH j]ri a
LABU Pad.
* f " i f PT #
fe d . P ed.
1
P e i. . W .
This short setting (six measures in all) consists of but one
sentence of music. It is apparent that the composer has
selected chords, many of which show quartal derivation,
primarily on the basis of their color. While the progressions
themselves are non-functional, the low pedal tones in the
bass (see Example 30) tend to center the tonality around P.
No. 3
"St. Ita's Vision"
As the score indicates, the composer is using
92. Ibid.
88
Chester Hallman1s translation of this eighth century poem hy
special permission. The musical setting of this song is
somewhat suggestive of a scene from an opera: a recitative
introduces an aria-like lullaby in which the saint dreams
that she is nursing the Infant Jesus at her breast.
The introductory recitative presents no specific
problems in form. The main body of the song, the "lullaby,"
begins in measure 5 and extends to the end (m. 44). Divided
into three sections, the second and third of which are
variations (modified strophes) of the first, it is centered
in F minor (Dorian) throughout, ending on an open cadence on
the dominant ninth. The chords are built in thirds with
added tones, and the progressions, with the exception of the
recitative, follow traditional, functional patterns. The
minor seventh chord, and, to a lesser degree, the major
seventh chord, are emphasized in the vocal part (see Example
31).
89
93
Ex. 31
^JAvtiantft tw nutc
ittiw>) Y*!*1 f
twiF 'P ^ F=fl=f=| -p------ :
it
itmy- brt&it, mtwtwvrU $ true
---
-x-r-rf- F f f M
j. f -y-v..
fori-' r T ~ -~r"-
. i S -1
iNDKrt>
M tc X a l
The following diagram presents a formal analysis
of the entire song:
93- Ibid.
90
Introduction Part 1 (a1 ) Part 2 (a2 ) Part 3 (a^)

Measures: 1-4 5-19 .20-29 30-34
Recitative
Style
"Lullaby"
minor throughout-
(m. 1), tonal Melody and Melodically Melody some
ly unstable,^ accompaniment fixed, but what modified,
leading to E illustrated abbreviated but' still a
(see Example variation of melodically
m. 2-4; 31). Ends on Sec. 1. Piano fixed varia
Closing on an dominant 7th accompaniment tion. A1
^
E mgjor triad (CM?). stresses a D theme in
D Phrygian augmentation
scale pattern (m. 38-44).
in sixteenth Ends on
notes. Cadence implied
on the dominant 9th
dominant. in F minor.
(CGD.)
No. 4
"The Heavenly Banquet"
The open cadence of the preceding song leads
directly to F major, the key of this, the fourth song. There
is a decided change in mood in "The Heavenly Banquet," in
which the host would like to have the men of heaven as his
94
guests and have them enjoy their drinking. This is a
closed ternary form (the first section (A1 ) ending on the

O
tonic note F) with the third section (A ) and the coda
being combined.
94. Translated by Sean O'Faolain, in The Silver Branch, 33.
91
The cheerful mood expressed in the four stanzas of
this poem is vividly captured by a series of running eighth-
note patterns in the vocal line, consistently doubled by the
piano. The interval of a ninth is especially noticeable in
the chordal outlines of this song, being frequently brought
about by the superposition of two perfect fifths on a given
bass tone (CGD, FCG, etc.). The chord progressions themselves
follow traditional, functional patterns, with the A sections
being limited to the tonic and dominant harmonies.
The first section (A1 , m. 1-13), which includes the
first two stanzas of the poem, is a twelve-measure sentence
in which the antecedent and consequent phrases close with
authentic cadences in F major (m. 6, 13). Section two
(B, m. 14-35), includes the last two stanzas of the poem, and
is in the key of A flat major. The -cadential extension
(m. 27-31) seems to allow the "host" a brief moment for re
flecting upon his joyful desire to have a "great lake of beer
for the King of Kings." At the same time that the cadence is
being formed to conclude the B section (m. 35), a return is
made to the A material. The piano alone plays the concluding
Section A2 (m. 35-44), which serves as a coda, and is an
almost exact repetition of A 1 minus the first measure. The
abrupt ending in measure 44 seems appropriate to the carefree
mood of the poem.
92
No. 5
"The Crucifixion"95
The lucid texture of thi3 monothematic song with
its emphasis on bare horizontal fourths and fifths paints a
vivid impression of the grief and pain in "The Crucifixion."
The principal motive is set forth in the Introductory
measures:
Ex. 3296
M oJrato
MI
Only twenty-eight measures long, it divides itself
into two sections, of which each contains one stanza of the
text (m. 3-15> 15-28). The tonality is generally centered
95. Translated by Howard Mumford Jones, in P. S, Allen, The

Romanesque Lyric, 188.
93
around A minor. The theme appears transposed up a fourth
as the second stanza begins, but on the third line of the text
"But sorer still to Him was the grief," it returns to the
original level. The introductory measures serve as a coda
(m. 26-2 8 ).
No. 6
"Sea Snatch"
The title of the poem is "The Wind," as it appears
in the translation by Kenneth Hurlston Jackson. ^ The
irregular groupings of an eighth-note ostinato-like pattern
culminating in an ascending spiral add reality to the fury
of the tempest at sea as expressed in the two short lines
of the poem:
97. Kenneth Hurlston Jackson, A Celtic Miscellany (Cambridge:

Harvard University Press, 1951), 13B"!
94
98
Ex. 33
/VWeg-0 c o n ^ u o c o
11
The musical setting consists of a ternary melody

1 2
(A BA ), of which each part is introduced by the ostinato-
like pattern; the first line of the poem is repeated for the
final section.
The chordal outlines and particularly the ascend
ing eighth-note patterns (m. J-9, 26-30) emphasize quartal
harmony. In the A sections (m. 1-9, 20-28) the only semblance
of chord movement is the oscillation between an open fifth
and fourth on C and B flat; in the B section (m. 10-19),
diminished fifths or augmented fourths are stressed in the
right hand of the piano.
2
In the final section, A , which in every way is an
almost literal repetition of A1, a short melisma is added to
95
the interjection "0" (m. 27-28) to lend further weight to

the feeling of despair.
No. 7
"Promiscuity"
The text is set to a melodic line limited to a
range of a diminished fourth. The entire song is constructed
upon the eight tones that are presented in the introduction:
Ex. 3499
Sojtenuto A lle g r o w*oJeraito J=IO0
Voice = i
I do net Knowwftudwiji t dan will aleeg,
Ram
i H i ' w

O,i
1
*
fcd.
P.dT
The technique suggests tone-row practice; the
eight tones could be thought of as a truncated row.
99. Ibid.
96
Considering the accompaniment and the vocal part, the song
consists of four nearly identical phrases alternating between
the voice and piano. It is interesting to note that the vocal
line, in addition to being limited in range, is composed of
but four of the eight tones.
The tonality is generally centered around P. The
intervals of the seventh and especially the diminished octave
in the piano in measure 9 (it is through the rearrangement
of the order of tones, beginning in measure 6, that this
interval is created) seem to have special connotations
peculiar to the text.
Although the order of tones is changed, the final
measure, a coda, recalls the introductory idea.
No. 8
"The Monk and His Cat"
The ostinato-like figuration (see Example 35)
that is used almost throughout this song seems in keeping
with the general air of contentment expressed by the
philosophical scholar in the poem. The structure is ternary

/ 1 2\
(A BA ), the B part being a small binary form. A one-measure
introduction leads to the beginning of A1 (m. 2-21), with
its use of hemiola in the vocal part:
97
Ex. 35100
Moiftrito, flowing J--71
fOICt
-------------- "if
s i
P iivjo (
$
M . Pei.
This section, which is in the key of P major,
consists of a ternary melody (a^ba^)j each phrase is set
off by an ascending figure emphasizing minor seconds, which
seemingly suggests the monk's cat crawling softly over the
keys of the piano, and is also prominent in the coda. An
extension of the tonic cadence that concludes A"*" (m. 20-21)
leads to the second part, B, at measure 22.
In addition to the tonal shift to A minor, the
beginning of the a1 segment (m. 22-27) of the binary form
that makes up Part 2 is marked by rhythmically accented
chords, which point up the text and momentarily replace
Reproduced with permission o f the copyright owner. Further reproduction prohibited without permission.
98
the flowing eighth-note patterns in the bass of the piano.
The concluding part, b (m. 28-39), in which the ostinato
figuration is transferred to the treble of the piano, is in
the key of F sharp major ending on a half cadence on the
dominant seventh chord. This chord moves down a third to the
tonic triad of F major (m. 40) as Part 3 begins.
The first line of the poem, followed by the fragment
of it that appears in Example 35> is repeated in the final
section. Although minor changes result from the deletion of the
b part of the original ternary melody, A2 -is otherwise the
same as A1 . The coda (m. 50-52) brings the song to an effec
tive close on the complete tonic triad.
No. 9
"The Praises of God"
The score indicates that this poem, which was
translated by W. H. Auden, is used by special permission.
The imitative, staccato figuration in the piano (see Example
36), which introduces the A1 section of this ternary form

-| p
(A BA ) and continues throughout most of the song, provides
a striking rhythmic background for "The Praises of God" as
they are uttered in the poem.
99
Ex. 36101
st&cc.
9 paJil
PLAIN
The melodic material that is used throughout the
song is contained in the following ternary melody that makes
up A1 (m. 4-12):
Ex. 37102
This section is centered in C major, but in the closing
measures the tonality shifts to A minor, cadencing, in
measure 10, on an E major chord that is extended through
measure 12.
101. Ibid.
102. Ibid.
100
The B section (m. 13-20), whose vocal line is
derived from the fragment of the ternary melody of the
first part (see Example 37), is tonally unstable. The D
sharp minor triad (m. 13) is never established as a key center,

/
and it is not until measure 21 that the tonality becomes
settled. The return of the original key of C major with
the melisma on the first syllable of the word "Laudation"
supports the structural division of the form attendant upon
the appearance of A^. The melodic line that is used for this
expressive vocal passage is derived from the b part of the
melody (see Example 37)* While sixteenth notes are used to
fill in the interval of the fourth as the syllable is
repeated, the outline of the melody remains the same.
A short coda (m. 26-31) based upon the rhythmic
background material brings the song to a close in C major.
No. 10
"The Desire for Hermitage"
The deeply felt desire of the hermit to live a life
of solitude before "the last pilgrimage to death" is vividly
expressed here by a restrained melodic line that winds
around a central tone. The melodic material for the entire
song, like that of "The Praises of God," is set forth in the
first section of this ternary form. The divergent nature of
101
the middle part (B) results from a textural change in the
accompaniment and a shifting of the tonal level rather than
in any new material.
The short introduction, which presents one of three
important motives of the song, establishes the tone G, whose
repetition provides a tonic pedal:
103
Ex. 38 (Note Motive l)
C&\ro e sest*nu.to
The melody of section A (m. 2-10) begins with Motive 1 and
is followed by Motive 2 in measures 5 and 6:
103. Ibid.
I( ''Eli? f Motive. 2
Motive 3 j which appears only in the piano part, is introduced
in measure 7:
The tonal center of this section is G with a decided emphasis
on the Phrygian scale. With the exception of measures 7 and
9, where bhe subdominant and subtonic chords are outlined,
there is no sense of harmonic progression in this section.
Motive 3 (m. 10) leads to the beginning of the middle section
(B) at measure 11.
104. Ibid.
105. Ibid.
103
Although the vocal line in the B part is more
expanded than that of A 1, it is nevertheless derived from
the preceding melody. This section (m. 13-25) is, however,
set off from h?- and A^ by its emphasis upon chordal movement
(quartal harmony is stressed), its shift in tonality, and by
the general change of mood that largely results from the more
elaborate treatment given to the piano. The tonal center is
unstable from measure 13 to 19, but in measure 20 the vocal
line and the accompanying figuration center around G sharp.
While all three motives appear in this section, Motive 1 is
especially emphasized; it appears in the vocal line (m. 19-20)
and in the piano part (m. 17-20). Motive 3 leads to the
transitional phrase (m. 26-2 8 ) played by the piano alone.
This cadenza-like passage, which leads to but yet

O
does not prepare the return of the A section, is based upon
the three motives. Motive 3 is used in the bass and treble
in measure 26 and is suggested in the ascending triplet
figures in the tenor line in measure 28; Motive 1 appears
in the bass in measure 28; Motive 2 is treated in canonic
imitation beginning in measure 28. This phrase ends on an
open fifth (G#-D^)10^ in the bass with repeated G sharps in
the treble. The original tonality of G minor is abruptly
106. G sharp is enharmonically A flat, and suggests the

Neapolitan relationship in G minor.
104
2
restored when the G sharp slides down to G natural as A
begins (m. 2 9 ) .
O
Although minor embellishments are added, A*-
(m. 29-38) is an almost literal repetition of A1 . The song
ends quietly on a chord built up in fourths and fifths
(DGCGDGC), reaching the end of a cycle which, in the writer's
opinion, is one of the most important contributions to its
field written in our time.
105
Chapter II
THE CHORAL MUSIC
Although Barber has written eight choral pieces,
only the first six will be included in the analysis. The
seventh choral work, Ad Bibinem cum me rogaret ad cenam,
a setting of a slightly altered verse by Venantius
Fortunatus, appeared only in a collection of articles and
music written for Carl Engel's sixtieth birthday, which was
published in a limited edition in 19*J-3 and is not for sale.1
An eighth composition, Prayers of Kierkegaard, a setting of
selected prayers of Soren Kierkegaard for chorus, soprano
solo, and orchestra, was not available until December of
1955 and falls beyond the time limits established for this
thesis. The full score and orchestra parts for the latter
work are available only on rental from the publisher.
Opus 8_
No. 1 "The Virgin Martyrs"

No. 2 "Let Down the Bars, 0 Death"
Written in 1935,2 "The Virgin Martyrs," for r
1. Nathan Broder, Samuel Barber (New York: G. Schirmer,

Inc., 195*0, 68.
2. Ibid., 100.
106
womens voices, is a setting of a m o d e m English version of
an old Latin text. This version, after the Latin of
Sigebert of Gembloux, consists of three stanzas of four

3
lines each, of which none is rhymed. The song is made up
of two parallel sections, the second being merely a variant

4
of the first. The first and second stanzas are sung in the
first section, followed by the third stanza in the con
cluding section.
The sixteenth and dotted eighth-note rhythmic
division is stressed in the motto-like descending pattern
that is introduced by the sopranos in thirds and imitated
by the altos (see Example 41). This pattern, which later
appears also in mirror form, is used throughout most of the
song.
3. Helen Waddell, Mediaeval Latin Lyrics (New York: Richard

R. Smith, Inc., 1930), 159.
4. A modified strophic form.
107
Ex, 41
AnAavAe, unpeto mono J-bb
P TKwt
AW1
Altoi,
J Jri^ :
Tke<*e.f"t tent __ x^*it
c o m * . ________
While the over-all key is C major, both the major
and minor modes of C are used. The chord structures are
predominantly triadic with only an occasional seventh chord
appearing. A slight degree of dissonance is achieved by
the use of nonrharmonic tones, particularly the 4-3 suspen
sion.
The first stanza of the text comes to a close in
measure 11 on a deceptive cadence in C major. Stretto
entries on the words "And other" (m. 11-13) that mark the
beginning of the second stanza lead to imitative treatment
of the descending pattern that began the song; it appears
in its original form and in mirror (m. 16-19, and 20).
The key of C begins to dissolve after measure sixteen, and,
5. Copyright 1939* by G. Schirmer, Inc., New York.
108
with the imitative treatment on the words "But their souls
and their faith weremaimed not," a momentary shift is made
to E flat Phrygian. The keyof C is restored (m. 26) follow
ing the pause that effectively sets off the last line of
the second stanza "Worthy now of God's company."
2
The second section(A , m. 28-53)> in which the
remaining, stanza of the textis extended by repeating the
words "gathering flowers," begins in the key of C major
with the motto-like pattern as before (see Example 4l).
Following imitative entries based on this pattern, the key
center moves to D minor (m 38-45). Except for the change
of key, measures 42-45 are identical with measures 21-2 5 .
The A minor triad serves as the pivot chord while the key
of C major is restored in the concluding section. The
suspension figuration is particularly noteworthy in the
closing measures: the bass suspension in measure 49 (2-3)
is followed by a 4-3 suspension in measure 51. The song

g
comes to a close with a half cadence on the dominant triad.
"Let Down the Bars, 0 Death," for four-part mixed
chorus, is a homophonic setting of a short poem by Emily
6. The repeated emphasis on the G major triad and the

melodic line too give a feeling of G Mixolydian as well
as C major.
109
Dickinson. The poem, which consists of two stanzas of
four lines each, has an irregular rhythm and only the second
7
and fourth lines of the second stanza are rhymed. The
boldly simple but direct musical setting (see Example 42)

1 2
falls into an open ternary form (A BA ), in which the first
two lines of the first stanza of the poem are repeated in

2
the last section (A ).
8
Ex. 42
^w davA e. sitewut
Besides common triads, the augmented-major
seventh, major seventh, and diminished-minor seventh chords
are used. The A'*' section (m. 1-11) begins in G minor,
closing on a G minor triad. While the material that appears
in the B section (m. 12-21) is merely a continuation of A1,
7. The Complete Poems of Emily Dickinson (Boston: Little,

Brown, & Co., 1924), 201.
8. Copyright 1939* G. Schirmer.
110
some contrast is achieved, primarily through the shift in
tonality to the key of E, both the minor and major modes
being employed. It comes to a close in measure 20-21 on an

2
E major triad. A (m. 22-30), which is abbreviated, con
sists of an almost literal repetition of the first six
measures of the song (see Example 42). The song comes to
a close with a plagal cadence on a G major triad.
A Stopwatch and an Ordnance Map, Opus 15
g
This work, which was written in 1940, was
originally scored for a full chorus of men's voices and
three kettledrums. After it was published, the composer
added an optional accompaniment for four horns, three
trombones, and tuba.'1'0 While the score can be bought, the
kettledrum parts and the optional brass parts are available
only on rental from the publisher.
Stephen Spender's poem, which is dedicated to.
Samuel Barber, describes the death of a soldier in the

11
Spanish Civil War. There are three seven-line stanzas,
of which each begins with the words "A stopwatch and an
9. Broder, 101.
10. Ibid., 68.
11. Stephen Spender, Collected Poems (New York: Random

House, 1955), 8 7 .
Ill
ordnance map," and ends with "All under the olive trees."
The form of this choral piece, as In many vocal works, is
largely governed by the text. Like the poem, it is written
in three sections, the first line of each stanza being
introduced by the same motto:
n&vic<
_ J | J j
pp
A double refrain, of which a part appears in the following
example, is employed for the last line of each stanza:
12. Copyright 19^2, G. Schirmer, inc., New York.
112
Ex. 44
g
Ml uw.fcrtK*
Ml un.Jerlw
M \ UhJirnii
A short opening kettledrum solo leads to the
motto and the beginning of the first section (m. 4-17) in
the key of C minor. The second line of the first stanza,
"At five a man fell to the ground," is sung in chordal
style, leading to a descending scale pattern (m. 10) that
is treated in imitation. A short motive (m. 14) sung by
the first basses and imitated at the third below in the
second basses, leads to the first refrain.
The tonal center on C is retained throughout the
first refrain (m. 17-27), the major mode being emphasized.
13. Ibid.
113
In the first part of the refrain (m. 17-27), chordal style
is succeeded by imitative entries: in measure 21, the
second basses, acting as the leader (see Example 45), begin
the repetition of the refrain melody that ends on a C major
triad in measure 27 ; a short kettledrum solo leads to the
next section.
Following the statement of the motto in C minor,
the kettledrums begin a gllssando figuration that alternately
emphasizes the submediant, Neapolitan, and tonic harmonies
of B flat minor, the key of this section. The unison
passage (m. 35) that is sung by the first tenors and con
tinued by the basses from measure 39 to 41, is followed by
a motive treated in Imitation by the three upper voices over
a rhythmic eighth-note pedal in the kettledrums and second
basses; the submediant chord of B flat minor is stressed.
The climax of this section is reached (m. 45) on the words
"final loneliness" as a dominant organ point begins; mean
while, the second refrain enters in measure 49, being
stated this time, however, in the key of B flat minor.
Except for the change of key, this refrain is the same as
the first. The dominant chord, which has predominated
throughout this passage,-serves as the pivot between B flat
and C minor as the motto is restated.
114
The chordal treatment of the second and third
lines of the third stanza is effectively contrasted with the
imitative treatment of the words "But another who lives on,":
Ex. 4514
r.i
TIT
Bvt -* wlo Uvt> n,
B .I
But AW . ottt-ftT wiltshxitl
B .H ML
K.D. 3E
The tonal center is somewhat uncertain from measure 74 to
80, hut at this point an augmented sixth chord is reached
(second half of the third beat of measure 80 FÂ^CE^)
and resolved to the dominant of C major. The dominant
harmony is prolonged as a descending scale pattern
(m. 81-88)., which is an augmentation of the one that was
used in the first section (m. 10-1 3), leads to the third
refrain.
14. Ibid.
115
The first part of the final refrain (m. 88-92) is
a literal repetition of that which was used in section 1.
In the somewhat modified part that follows, the solo tenor
provides a dramatic melismatic passage, after which the
motto is once more recalled (m. 101-103). The composition
comes to a close with the kettledrums intoning a fragment
of the tail of the motto under the sustained C major triad
in the voices.
Reincarnations, Opus 16
No. 1 "Mary Haynes"

No. 2 "Anthony 0 Daly"
No. 3 "The Coolin"
Reincarnations is a setting for mixed voices of
three poems by James Stephens after the Irish of Antoine

3-5
O Raftery. The musical setting of the poem "Mary Haynes,"
which consists of two stanzas, falls into a bar form

12 1 2
(A A B ) . A lively main part (A'*, A ) is contrasted with a
more tranquil B section, in which the voices enter in
imitation and then join to recall the theme of the opening.
1
The A section begins on the leading tone seventh
15. James Stephens, Reincarnations (London: Macmillan & Co.,

19^8). The three poems that Barber has set are on
pages 3, 13* and l^j respectively.
116
chord of C major (BDFA), resolving immediately to the
tonic. The main melody consists of an extended filled-in
chordal pattern (see Example 46) that is presented first in
chordal style; as the words "She is a rune" are repeated
several times, fragments of it are treated in stretto
imitation (m. 7 - H). Following chordal and imitative treat
ment of the last two lines of the first stanza, a cadence
in unison on the leading tone scale degree of C major is
reached.
16
Ex. 46
AMegro
Sop.
*
^ ft^J
^ n.._ Kyof t U Ju! (kt 11 J ft op lo o t I
AVTo &
3
op Tte. jTtnl. '* tU. Jttt Bp Low*.\
Tevtor m i
m m H V - H
s SK. is op tli* Ju.nl St. <* tVi 4 r t op U u t l -
B u si
C SKe. '*
p C e f H S -g i n
iKy op -fils Jutvtl S t* i* tu Jrt op. t,0 ? l _
16. Copyright 19^2, by G. Schirmer, Inc., New York.
117
The pyramiding effect that results from the stretto-like
imitations of the spiralling figure (m. 16-18) sung to the
syllable "ah," dramatically marks off, and yet links the A1

2
section with its repetition A , which begins in measure 19.
Except for minor rhythmic changes, the first eleven

2 1
measures of A are identical with A ; the remainder (m. 30-37)
employs the melodic material of the main theme and modulates
to B flat, where it cadences in measure 35. The more languid
melody introduced by the tenors in measure 38, which is partly
derived from opening figure (see Example 46), marks the be
ginning of the B section (see Example 47); the first four
notes of the bass entry in measure 49 suggest an augmentation
and mirror of this melody. As the soprano voice enters with
the theme in measure 51> the tonal center reverts to C major,
118
17
Ex. 47
% L U
m s
>
'a?Lovil^t4 *'r y- - tV c w'w**i
- r* tin WiM.
a
Lowe. 1_ "l> in'i kit
the dominant (m. 51-52) in B flat major having become the
dominant of the subdominant in C major. The first part of

/ 1,
the melody of the opening section (A ) returns in measure
58 in augmentation. The harmonic wandering that follows in
the closing measures (m. 62-6 5 ), resulting from a series of
chords whose roots are a second and third apart, serves to
hold off the final cadence on the C major triad. The
mediant triad is reached on the fourth beat of measure 65
and serves as the penultimate chord. The cadence of a root-
descent of a third, E minor to C major, brings the song to
a satisfactory close in measure 66.
It is difficult to find a meaningful name for the
curious structure of the mournful "Anthony 0 Daly." It
17. Ibid.
119
is constructed entirely above or below the note E, which is
sounded in all but four measures. The whole work is based
on the material presented in the opening measures (see
Example 48), which, through repetition, lead to a frenetic
climax.
Ex. 4818
As the basses continually chant the name
"Anthony," the upper voices begin imitative treatment of
the theme. From measure 10 to 18, the tenor voices add to
the solemnness of the setting by repeating the line "For
O'Daly is dead" over the monotonous ostinato in the basses.
The tension slowly rises as the upper voices (m. 22-30)
make close stretto entries of the theme, and, as the
ostinato is transferred to the soprano and alto voices,
the tenors and basses take up the stretto imitation. The
18. Ibid.
120
final surge to the climatic point begins in measure 64.
Here the first three notes of the theme (see Example 48),
which are merely an ornamentation of the pitch E, are re
peated in unison by all the voices. The climax is reached
at measure 68 as the full choir sings, indeed almost shouts,
"Anthony!" The feeling of despair is intensified in the
last section (m. 74-88) where the chant-like plaint on the
repeated note E falling to C sharp is imitated at the
diminished fifth below. Only in this passage is the tone
E momentarily absent. On the final words of the text,
"There is nothing but grief," the sopranos and altos repeat
and sustain the tone E with an augmented fourth sounding
between the tenors and basses (m. 82-85). The song comes
to a close on an open fifth, E and B.
In the last of the set, "The Coolin," broken-
chord melodies in Siciliano-like rhythm lend warmth to the
tender love poem. The musical setting falls into a tri
partite division, all of whose material is based on that
which is presented in the first section. In addition to
common triads, extensive use is made of major seventh and
diminished-minor seventh chords, and, to a lesser degree,
the minor seventh chord; an occasional ninth chord appears.
The over-all tonal center is F major, the submediant harmony
(D minor) being frequently substituted for the tonic.
121
The first half of the first section (A'1', in. 1-6),
which contains the principal sentence of the song, consists

1 2
of a small ternary phrase (a ba ) whose middle part is an
undulating section based on a F major seventh chord outline:
Ex. 49 19
,
com mol F mjo<* c L ri
wltk*c;luiJtrm V tk e tU .\A * tc # 6 t
The divided basses and tenors begin a modified repetition of
the sentence at measure 7* followed by imitative entries on
the b fragment, which serve as a transition to the middle
section (B) that follows in measure 14. The B section
(m. 14-31) divides Itself into two parts. In the first,
(m. 14-25), which develops chordal patterns derived from
the small b fragment of the main sentence, the apparent use
of the Locrian mode on C gives the effect of a shift in
tonality to D flat. A ninth chord built on the C major
triad (m. 21-23) leads to the submediant and tonic triads
19. Ibid.
122
of C (m. 24-25).
Although the melodic line that begins the con
cluding part of this section (m. 26-31) is not directly-
derived from the main melody, it is nevertheless somewhat
reminiscent of the a fragment (see Example 49). This part
also carries out the interchangeable mode concept as the
Dorian mode on C is employed (note the use of A natural in
measure 30 particularly). The B section comes to a close
in measure 31 on an E flat major seventh chord in second
inversion. The tone E flat is, however, treated as a D
sharp when it resolves to E, which is the fifth of the A
major triad that serves as the harmony for the beginning

2 2
of A . The final section (A , m. 32-38) is almost a
1
literal repetition of the first six measures of A ,
bringing the song to a close on an P major triad.
123
Chapter III
THE PIANO MUSIC
Excursions, Opus 20
At the time of writing there are only two published
works originally written for piano solo. The first,
Excursions, Opus 20, written in 1944, and first performed in
19^5 ty Vladimir Horowitz,1 consists of four short pieces,
of which the composer himself says:
These are "Excursions" in small classical forms

into regional American idioms. Their rhythmic
characteristics, as well as their source in folk
material and their scoring, reminiscent of local
instruments, are easily recognized.
They are subtly refined treatments of four popular styles of
American music. In the first, whose formal pattern falls

1 2 ^
into a five-part rondo (A BA CA Coda), the composer provides
an imaginative treatment of the special type of piano blues
known as boogie-woogie.
Although there are many variables, the essential
part of any boogie-woogie is an ostinato bass figure,
usually sharply rhythmic (eight eighth notes to the
1. Harry Dexter, "Samuel Barber and His Music," Musical

Opinion 72 (March 19^9), 286.
2. Note in published score. Copyright, 19^5 by G.

Schirmer, Inc., New York.
124
measure), against which the right hand rhapsodizes freely.
In liis article on "Jazz" in the Harvard Dictionary of Music,
Lloyd Hibberd includes several variable components:
. . . the sections usually [comprise] 12 measures

and the treatment often [is] contrapuntal (some
times in only two widely-spaced parts), with re
peated tones, broken-octave tremolos, and short
figures reiterated in great rhythmic variety.^
The ostinato bass figure as used here is as
follows:
4
Ex. 50
Q U p o c o a lW g r r o )-
l
-r
In the A parts of the rondo design the above pattern is
repeated on the tone C; in the B and C sections it appears
on the subdominant tone P and the dominant tone G
3. Lloyd Hibberd, "Jazz," in the Harvard Dictionary of

Music, ed. by Willi Apel (Cambridge, Mass: HarvarcT
University Press, 1946), 378.
125
respectively. Except for the A^ and C parts, the sections
comprise twelve measures. It is possible to identify two
reiterated patterns that constitute the essential material

1 2
of the right hand of the A , B, A , and C parts. The first
begins with repeated tones followed by triadic and seventh
chord outlines:
5
Ex. 51 Pattern 1
Although the second pattern continues to outline triads and
seventh chords, the returning tone aspect assumes an
important role:
5. Ibid.
126
Ex. 52 Pattern 2
ywj
The material used in the right hand of the A part
(m. 90-106) consists of syncopated block chords, neither
pattern appearing. The Coda (m. 107-113) is a repetition
of measures 2 and 3 (see Example 50). The movement may be
diagrammed as follows:
A B A
m. 1-37 m. 38-55 m. 56-65
Ostinato bass on C- + p --------- ------ -> C
Two sections Two eight-measure One eight-measure
(m. 1-10, 11-18), sections. Emphasis phrase, Pattern
Pattern 1 In right on Pattern 2 leading 1 (somewhat
hand followed by to transitional modified) leading
linking passage phrase (m. 53-55) to transitional
leading to section consisting of an phrase (m. 63-6 5 )
2 (m. 25-37); arpeggiated 4th chord made up of Figure
Pattern 1, a minor and repeated tones 1.
third higher (note on E.
cross relationship
or split 5th G
flat against G
natural, m. 29-32).
Pattern 2 introduced
in measure 33.
6. Ibid.
127
C Coda
Ostinato bass on G -------- * C ------------------ * c
m. 66-89 m. 90-106 m. 107-113
Patterns 1 and 2 Syncopated block Repetition of
developed. No chords in right hand. measures 2 and
marked sectional Cross relation of G 3. Ends on the
divisions; mea- flat against G note C.
sures 8 5 -90 serve natural (mt 92-9 6 );
as a^transition tonic major and minor
to A . and subdominant triads.
The second in this set, a rich and elegant blues,
is divided into four twelve-measure sections, each being
improvisatory in nature. The unvarying harmony of each
a c t i o n is limited to the tonic and dominant chords of C
major with a secondary dominant of the dominant being added
in the concluding section (m. 41-42). To this simple chord
structure the composer adds the lowered seventh (B flat =
A sharp,) or "blue" note, both melodically and harmonically.
Of special harmonic Interest is the simultaneous use of the
"blue" note and the leading tone scale degree. This pro
cedure can be observed in the opening measures where the
dominant seventh chord without the root contains both an A
sharp (B flat) and a B natural;
7. Lloyd Hibberd, "Jazz," in the Harvard Dictionary of Music,

3 76 . Also refer to Winthrop Sargeant, Jazz; Hot ancT
Hybrid (New York: E. P. Dutton & Co., 1946), 153, 195.
128
8
Ex. 53
I * slow WWs tempo J=<)0
Because of the simplicity and repetition of the
same material, it is not necessary to give a detailed dis
cussion of each section. By way of conclusion, it will be
noted that the first and second sections are extended one
measure by repetition and extension of the cadence chord
(m. 12-13, 25-26).
The piquant, fluid effect that is achieved by the
unusual rhythmic organization in a set of variations on a
folk-like melody, makes the third piece in this group
especially interesting. The regular eight-measure melody
divides itself into two equal phrases:
8. Copyright, 19^5, G. Schirmer.
129
Ex. 54' Antecedent Phrase
A M t y r etta J-60 ^ rj
3E
f tcf r
P W ^ a -ti
3
CoVI edal
Ex. 55 Consequent Phrase
eon X l h a o
Smyr legato
9. Ibid.
10. Ibid.
130
The following diagram will provide a synopsis of the
variations:
m. 1-8 9^16 17-24 25-32

t------------------ G Majorthroughout------- -----
Statement of Var. 1 Var. 2 Var. 3
theme. Note Literal Antecedent Consequent
unusual rhythmic repetition of phrase an phrase only;
organization antecedent octave higher; rhythmic
(See Example 54 phrase; rhyth rhythmic variations:
and 55). mic variation variation of
of consequent consequent n rf]
phrase phrase
etc. Stress etc. Added
on triads 2nds and 4ths
with added again used.
2nds and 4ths.
m. 33-40 41-48 49-56 57-64 65-72

Var. 4 Var. 5 Var. 6 Var. 7 Var. 8
Literal re Consequent Complete Consequent or Coda
statement phrase only, melody phrase Literal
of antece melody in treated in only. restate
dent phrase; tenor voice block Rhythmic ment of
consequent (m. 41-44) chords in setting ante
phrase eighth-notes both hands similar cedent
transferred against with em to phrase
to bass part sixteenth phasis on original in
with melodic note pat septuplet statement. original
and rhythmic terns; rhythmic Phrase rhythmic
variation in melody in division appears an dress.
treble. treble (see Example octave Last
(m. 45-48) 55). higher four
sixteenth from measures
note pat measure consist
terns 61-64. of a
continue. modified
repeti
tion of
ante
cedent
phrase.
131
The last movement, an Allegro molto, is a
joyous barn dance in which the village fiddler and
accordion player can be recognized. The structural design,

1 2
which falls into a tripartite pattern (A BA ), may be termed
a "frame form"; the main body of the movement (B) is pre
ceded and followed by the extremely short A sections

11
(m. 1-13, 57-70). It is entirely in the key of P major,
the chords being limited for the most part to the tonic and
subdominant triads; added tones are frequently used. The
principal melodic material that is used throughout is pre
sented in A1 ;
12
Ex. 56
^ AW tgro vuYto J138

-
Some contrast is achieved in the B section (m. 14-56)
through mutations of the original melodic material and
11. Professor Thomas S. Turner suggested the term "frame

form" to the writer.
12. Copyright, 1945, G. Schirmer.
132
the texture. It will be seen that the melodic material in
the left hand that begins the B section is closely related

1
to that of A , the accompaniment being varied:
Ex. 57
Following repetition and development of this
material with particular emphasis on the repeated note
figure of the A"*" melody (see Example 56 , measure 3), the
first eight measures that began the B section are repeated
(m. 41-48). A transitional phrase (m. 49-56) then leads to

1 2
an almost literal repetition of A (A', m. 57-70). The
movement comes to an effective close with an arpeggiated
ninth chord on F.
Sonata for Piano. Opus 26
On September 2 3 , 1947, Irving Berlin and Richard
Rogers publicly announced that they had commissioned
13. Ibid.
133
Samuel Barber to write a piano sonata. The commission,
which was given on the recommendation of the League of
Composers, was to honor the League's twenty-fifth anniver-

14
sary in 1950. The sonata was completed two years later
and first performed on December 9, 1949, by Vladimir

15
Horowitz in Havana, Cuba. ^ Mr. Horowitz played the sonata
16
on January 4, 1950 for an invited audience in the Trustee's
Room of G. Schirmer, Inc., and after introducing it in
several cities, he gave its first New York public performance
in Carnegie Hall on the evening of January 23, 1950.
The work is emotionally more profound than many of
Barber's early works and technically farther advanced. It
is highly praised by Hans Tischler:
Brilliant and difficult though it is, this is no

mere display piece. It stands head and shoulders
above any other sonata written by an American
composer in the past thirty years, and is worthy
of taking a place alongside the great works of its
category by reason of its Beethovenian concentra
tion, seriousness, and mastery.!'
14. New York Times (September 24, 1947).
15. Nathan Broder, Samuel Barber (New York: G. Schirmer,

Inc., 1954), 102.
16. New York Herald Tribune (January 5, 1950).
17. Hans Tischler, "Barber's Piano Sonata, Op. 26," in

Music and Letters XXXIII (October 1952), 352.
134
It is the first work of Barber's in which twelve-
tone series are worked into the texture. Most of them result
from the repetition of groups of three or six-note patterns,
fourth chords and augmented triads being prominent in most.
The six-note patterns and rhythmic-meIodic figures are often
sequenced. A note of the series is frequently repeated
rather than disturb the motive; a note may be omitted for
pianistic reasons; or, the succession of notes that go to
make up a series may be changed to allow for alteration of
the motive during the course of its sequencing. Barber uses
the twelve-tone series as one among many compositional
techniques, rather than as the sole agent for generating his
musical formations.
While the texture is almost entirely chromatic and
dissonant, the themes are sharply defined and stand out
clearly. The formal designs in this four-movement sonata
are more or less traditional and they are based on a key
center E flat minor. The opening allegro is in sonata
form; its principal theme, with its characteristic
chromaticism, sets the tone for much of the work.
The key of E flat minor is established by
repetition and rhythmic stress of the tonic and submediant
tones; the flat second degree (Phrygian) is also emphasized
in measures 3 and 4. A repetition of the theme as it appears
above leads to the transitional section beginning at measure
9.
The transitional section (m. 9-22) begins with
18. Copyright, 1950, by G. Schirmer, Inc., New York.
136
imitative entries of a figure, which is derived from the head
of the principal theme, accompanied by various three and six-
note patterns. The following example will show the transi
tional figure and the first six-note pattern with its
internal sequencing:
19
Ex. 59
Stretto imitation of the descending chromatic line that
makes up the tail of the principal theme is suggested as the
third entry of the transitional figure begins (m. 12). A
short three-note figure, which becomes an important part of
the closing theme area, appears in measures 17 and 1 8 :
19. Ibid.
20
Ex. 60 Figure 1
This leads to a B natural pedal in measure 19 (enharmonically
the submediant scale tone of E flat minor), and, in measures
20 and 21, a new series beginning with the tone B natural is
set up. While the order of tones is changed in measure 22,
B natural is retained as the starting tone and the stress on
the augmented triad pattern continues in the series that is
used to accompany the second theme beginning in measure 23
(see Example 6l). The repetition of the series starting on
B natural establishes the submediant tonality of C flat
(B natural = C flat).The contrasting nature of the second
theme results from its lack of chromaticism and its smoothly
flowing rhythm:
20. Ibid.
138
21
Ex. 61
W p lp(tMI\W
The tall of the second theme consists of a twelve-note series
(see Example above, m. 25-26) emphasizing major triad figures
against both the augmented and major triad patterns in the
accompanying series. Imitative entries of a figure (see
Example 62), which is derived from both the head of the
second theme and the head motive of the accompanying voice
to the principal theme (see Example 58, m. 1, left hand),
lead to a fragmentary appearance of the second theme that is
spun out into two twelve-note patterns, which momentarily
stress E flat (m. 32-33)* reverting thento B natural from
measures 3^ to 3 8 .
21. Ibid.
139
pp
Ex. 62** Figure 2
Three short figures and a fragment of the
principal theme make up the material for the closing theme
area (m. 39-50)* Figures 1 and 2 are shown in Examples 60
and b2 respectively: Figure 3* which appears in the closing
measures of the second theme area (m. 35-36), makes use of
repeated notes:
Ex. 632^ Figure 3
iidja 5
!Hr
L
Figure 3 is present throughout the closing area; it is the
main motive from measures 39 to 42; next, in measures 43
and 44, Figures 3 and 1 provide an antiphonal effect;
finally, Figure 3> Figure 2 and a fragment of the principal
22. Ibid.
23. Ibid.
140
theme conclude the closing area (m. 45-50). The closing
theme area is centered in the subdominant key of A flat
throughout.
The preceding material, except for Figure 1, is
worked out in the development section (m. 51-109). The first
section (m. 51-70) deals almost exclusively with the
principal thematic material. Beginning in the tonic key of
E flat, it then passes through the submediant and subdominant
areas. The second section (m. 7 1 -8 9 ) consists principally
of Figure 3 and. Figure 2, and is centered in C minor. The
final section (m. 90-109) is made up of a six-note ostinato
pattern against which fragments of the second theme are
heard. A mediant prolongation is felt from measures 102 to
109 ending in a powerful crescendo leading to the climax of
the movement, the entrance of the recapitulation.
The recapitulation section (m. 110-148), although
somewhat abbreviated, follows a regular scheme. It may be
diagrammed as follows:
141
Recapitulation Section
m. 110-117 m. 118-128 m. 129-140 m. 141-148

Almost Transitional Second theme Closing theme
literal re section is area. Abbre area. Abbreviated,
statement slightly viated, but but otherwise
of princi abbreviated, otherwise an almost a literal
pal theme but other almost literal restatement
in E flat wise a restatement. centered in C
minor, literal re Centered in D flat.
leading statement. (leading tone
to transi degree of E
tional flat minor)
section. from measures
129 to 133.
Figure 2
(m. 134-135)
momentarily
stresses E
flat; moving
then to the
mediant
tonality of
G flat.
The coda (m. 149-166) is made up of all three
figures and the principal theme. It is in the key of E flat
minor throughout.
The second movement, a light, sardonic scherzo, is,
as Nathan Broder states: "... perhaps a bit light in
weight for its strong neighbors, but it serves its purpose,

24
which is to relieve the tension for a moment." The move-
1 O -3
ment, which is a sort of rondo (A Transition BA CA Coda)
24. Broder, 70.
142
does not contain a single complete series though many related
patterns are used. Three short melodic patterns make up the
principal material for the entire movement; the first two are
1
contained in the A section:
25
Ex. 64
AHtgro v iv e J.ziSi
p IjMWIII1
26 a V)
Ex. 65 Pattern 2 Pattern 2
2 5 . Copyright, 1950* G. Schirmer.
26. Ibid.
143
a four-note ascending pattern begins the transitional
passage:
27
Ex. 66
The lucid texture of the main sections results from the
lithe, rhythmic flow of two independent lines. A degree of
contrast is achieved in the alternate sections by shifts in
tonality, meter, and chordal outlines. Like the first move
ment, the key centers are established by repetition and
rhythmic stress of a tone or chordal pattern. The tonality
is unstable in the transitional section and in section C,
where the augmented fourth and diminished fifth intervals
are employed. The following diagram will summarize the
material:
27. Ibid.
144
1
A Transition B
m. 1-26 m. 27-48 m. 49-80 m. 81-101
Key of G major Begins with Based on Key of G
with parallel four-note patterns 2 Literal
modes of G be pattern follow and 2 , 2 repetition
ing used, two- ed by Patterns predominating. of A up to
voice writing 2a and 2b, 2b C major-minor. measure 95 >
throughout. predominating 49-66; A minor- the 3rd
Closed section See Example 67 -70; measure of
ending on G 0 5 ). Passes Passes A being
major triad through Bb through E repeated
outline. major, B minor, minor lead in remain
A minor, and ing to a ing part.
B. kind of
dominant
prolongation
in G (m. 75-
80 ).
3
c A Coda
m. 102-133 m. 139-151 m. 152-165
Based on Key of G Begins with
Patterns 2a and Abbreviated, four-note
2 , 2 pre literal re pattern of
dominating . turn of A ; transition
Tonally un closed al section
stable: begins section end transposed
in G, moving ing on G down a
quickly major triad minor 3rd;
through E, B outline. Patterns 2a
and B ; tonal and 2
center (m. employed
122-139). from
measures
156 to I65
over tonic
pedal.
Ends on G
major
triad.
Barber's intrinsically musical approach to the use
of the twelve-tone series again comes forth in the third
movement, a dirge, Adagio mesto. There is not one
145
twelve-tone series but several, employed mostly as accompani
ment material. In several instances the series is only
partially presented, and, at other times the composer does
not hesitate to enrich chords from a series with notes not
belonging to it. Hans Tischler observes that the series are

28
employed in the manner of a passacaglia. The following
quotation from his article in Music and Letters carries out
his observation:
The employment of the twelve-note rows in this

movement is quite original and a real contri
bution to contemporary technique. It re-inter-
prets the archaic passacaglia in twentieth-
century terms, and adds to it recitative-like
melodic material reminiscent of Bloch's chant
like lines. 9
1 p
The movement is in three-part form (A BA ), the
principal melodic material of the A sections being framed
by the short introductory passage (see Example 6 7 ), which
is elaborated in subsequent appearances. The over-all key
is B minor with the B section firmly rooted in C major.
The two-measure introductory passage, in which the first
series is presented in a vertical fashion, leads to the
principal theme of the Adagio over the passacaglia-like
28. Hans Tischler, "Barber's Piano Sonata," 353*
29. Ibid.
146
accompaniment made up of the first series. The following
example shows the first series (m. 1 and 3-4, left hand),
the theme (m. 3-4, right hand), and the second series
(m. 5-6, left hand):
147
30
Ex. 67
A i a e i c v w ttto ^ - t . 4 8
-*
5Tit II
a_
___
_____
___
___
__
l.bfff f ffrfip -f
BW 1.
1
1
i
%
%
\ p
P bf-
_.............vjp: A tiiji.
...... .... <>

w 1
it J J i fu.
The principal theme is derived in part from the main melody
of the rondo of the second movement. The encircled tones in
30. Copyright, 1950, G. Schirmer.
148
measure 3 of the example above are identical with those that
make up a part of the theme in the previous movement (see
Example 64). The theme is alternately shared by the treble
and a middle voice from measure 7 to 10 over a strong
harmonic bass line stressing the leading tone and tonic
scale degrees of B minor. Following an elaboration of the
introductory passage in measures 11, 12 and 13 (m. 1 -2 and
m. 11-12-13 frame the A section), a short linking measure
leads to the B section and the tonal shift to C.
While the melodic material that begins the B
section is outwardly new in appearance, it is nevertheless
a natural outgrowth of the principal theme of the section.
The following example shows the beginning of this section
and the new series starting on C:
149
At the beginning of the climax of the movement in measure 20,
a repeated-note figure derived from the closing theme of the
first movement (see Example 6 3 ) is presented:
.32
Ex. 69'
r* 5
i i
The first series returns at measure 24 as the tonality re
verts to B minor. Prom measure 24 to 27, the introductory
31. Ibid.
32. Ibid.
150
passage (see Example 6 7 , m. 1-2), now somewhat extended and
presented over a leading tone pedal point in B minor, serves
as a transitional phrase leading to the concluding section

n>
(A ) that "begins in measure 28.
A literal restatement of the principal theme in B
minor occurs from measure 28 to 32. A final reference is
made to the repeated-note figure (m. 34) and the head of the
principal theme (m. 3 6 ) over a tonic pedal. The introductory
passage is recalled at measure 36 and the movement comes to
a quiet close on a B minor triad.
The finale is a brilliant toccata-like fugue.
Hans Tischler makes the following statements about the sub
ject:
The subject is similar to old Italian fugue

subjects in that it is soon shown to be composed
of several sections; but, unlike those, Barber's
subject does not differentiate between the head
motive and the remainder by giving long notes to
the former and to the latter short o n e s . 33
The fugue subject follows:
33. Hans Tischler, "Barber's Piano Sonata," 353.
151
34
Ex. 70
to con s p m
The two segments of the subject are treated as separate
entities for long portions of the movement, turning it
almost into a double fugue.
Structually, the fugue is divided into an ex
position and five development sections separated by episodes
and followed by a coda.
The exposition section (m. 1-13), which is in the
tonic key of E flat minor, begins with the subject stated
alone followed by a real answer at the fourth below beginning
in measure 4. The motive that appears as the counterpoint
of the subject derives from the principal theme of the first
movement (see Example 58). The subject and countersubject
are inverted at the octave during the third entry and the
152
latter is partially stated as the fourth entry begins.
In measure 13 the exposition section comes to a close on an
implied authentic cadence in E flat minor. The following
diagram will provide a synoposis of the remaining sections:
35. Ibid.
153
Episode 1 Development Episode 2 Development

Section 1 Section 2
m. 14-17 m. 17-2? m. 28-37 m. 37-52
Counter Statement of Counter- Segment B over
subject spins Segment A^ subject pedal on A
out into folk^ counter material and (m. 37-40)
like melody.3 subject above fragment of leads to aug
Tonal move (m. 17-18) Segment B mentation and
ment: followed by (m. 28-33), - mirror of Seg
E minor - F complete tonally un ment A over E
parallel subject certain pedal
modes on P against a (A ?). Frag (m. 41-46);
used. stretto of ment of Seg Segment B
Segment A ment A (m. 33) (m. 48-52).
and counter in B*3 minor Tonal move
subject leads to ment: D minor
material. cadenza-like (m. 37-^0); A
Tonal move passage over minor
ment: P - C extended pedal (m. 41-52).
as complete on A (m. 35-37).
subject be
gins; D*3
(m. 23-26).
36. Broder, 72. The material has "American folk-dance

flavor."
37* Segment A and Segment B refer to the fugue subject

(see Example 70).
154
Episode 3 Development Episode 4 Development

Section 3 Section 4
m. 53-64 m. 65-81 m. 82-90 m. 91-95
Counter- Stretto, frag Counter E flat minor
subject ment of Segment subject extended
material over A, second voice and dominant
pedal on C in augmentation fragment pedal.
leads to the (m. 6 5 ), followed of Segment Complete
key of E major by Segment B A. Tonally statement
and the (m. 67-70); unstable, of subjects,
appearance stretto of leading to Segments
of folk-like Segment A dominant , A and B
melody used (m. 71-72). pedal of E treated in
in Episode 1 Centered in C minor stretto.
(m. 56-64) (m. 65-72). (m. 8 9 ).
note augmentation Stretto, Segment
of melody in left A in double
hand (m. 56-5 9 ). augmentation and
later mirror
(m. 73-78).
Fragment of
Segment A leads
to Episode 4.
Tonally unstable
(m. 73-81).
Episode 5 Development Coda

Section 5
m. 96-99 m. 100-108 m. 109-148
(J1- 120)
E flat minor,
extended Stretto Hocket-like
dominant entries of treatment of
pedal. Segment A in countersubject
Counter augmentation. material followed
subject by Segment A at
material measure 136
ending in where polyharmony
cadenza-like is suggested
passage. E against E .
Arpeggiated Movement ends
.as o;
on
augmented 6th open fifth Eb-Bb .
chord , _ ,
&
to E
99-P A^C
gesolves
155
Barber gives his sonata unity by the transfer of
motives from the preceding movements and by returning in the
finale to the tonality of the opening movement. It is fitting
to conclude this discussion with Hans Tischler's excellent
summary of the work:
The fusion of contemporary technique with that of

the past three centuries of twelve-note
technique, contemporary harmonic materials,
sonata form, passacaglia and fugue this
thoroughly satisfying fusion stamps Barber's
Piano Sonata Op. 26 as a classic of our times.
3 8 . Hans Tischler, "Barber's Piano Sonata," 35^*
156
Chapter IV
THE CHAMBER MUSIC
Serenade for String Quartet or String Orchestra, Opus 1_
The Serenade for String Quartet or String
Orchestra, Opus 1, was written in 1929 when Barber was a

1
student at the Curtis Institute. According to Harry Dexter,
this work is "the sort of thing which many composers, in
many lands, were turning out at that time, and it is no

2
better and no worse." He goes on to say that while the
serenade bears the mark of an immature composer, it does
nevertheless give promise of things to come.
This work, as well as several other compositions
of the early period, looks back to uhe late romantic era
for its inspiration. The melodic writing is interesting,
the texture is varied, and the piece achieves its modest
aims. Nathan Broder partially describes the harmonic
language by saying that many of the chord progressions re-

3
mind him of Hugo Wolf. In line with this statement, the
1. Nathan Broder, Samuel Barber (New York: G. Schirmer, Inc.,

195^0, 100.
2. Harry Dexter, "Samuel Barber and His Music," Musical

Opinion 72 (April 19^9), 3^3.
3. Broder, 73.
157
writer believes that the harmonic writing resembles that in
Hugo Wolf's Italian Serenade for string quartet.
All three movements are short. The first begins
with a languid introduction in 4/2 time whose material forms
the basis of the movement a sonata-allegro construction
without a development section (Introduction; A1}}1 Bridge
A^B2 Coda).
The augmented sixth chord and especially the
diminished seventh chord are emphasized in the introduction,
in which the over-all key of A minor is established. As it
comes to a close (m. 1 5 ) with a half cadence on the dominant,
the first violin, over a rhythmic accompaniment in the other
strings, introduces the principal theme (A1 ) of the Allegro
con spirito beginning in measure lo:
Extending from measure 16 to measure 31, it consists of one
complete sentence ending on the dominant seventh of A minor
in measure 31. A short linking phrase (m. 32) leads to
another statement of the antecedent phrase of the theme
(m. 33). This is followed by a four-note figure (m. 41) in
stretto imitation introducing a short bridge passage which
culminates, in measure 49, on a diminished seventh chord
that is resolved to the tonic of C major, the key of the
subordinate area.
The widely-spaced, expressive second theme is in
troduced by the viola over a sustained C pedal in the cello
and double bass and a syncopated major 3rd (C-E) in the

1
second violin. This theme, B , begins in measure 50:
4. Copyright, 19^2, by G. Schirmer, Inc., New York.
159
Ex. 735
W'in.l |
IS
i n i < J C I& - 4 n t t |"
r t f Eq f t n I f f - - f
p t |
s
P.. _ --
* 7 ""'
! ! iO/ T . _ 1-p... .*
h = = = E = t i U T. :
vwr esp w v 10
cc\U
= =
As the first violin begins a consequent phrase, the mode
changes to minor (see Example 73* measure 54). The theme
closes in measure 58 with an altered dominant (GBD P) to
tonic cadence as the mode reverts to major. The cello and
double bass (5 8 ), with a modified version of a part of this
theme, begin a four-measure phrase extension that leads to
the bridge passage (m. 64).
The key of C is retained for the first part of the
bridge section; it begins to dissolve in measure 66 as the
second violin introduces a three-note descending figure,
which is reminiscent of the head of the second theme. The
5. Ibid.
160
passage comes to a close in measure 67 on an implied dominant
triad in A minor.
2
The A section starts in measure 67 with the second
violin presenting a literal restatement of the principal
theme in A minor (m. 67-78). The linking passage leading to

p
the restatement of the second theme (B ) is limited to four
descending quarter notes beginning with the last quarter note
in measure 7 8 .
2
The second theme (B ), which begins in measure 79*
is neither complete nor exact in this appearance. Although
the mode shifts to A major as this fragment begins, A minor
is quickly restored with the appearance of the C naturals in
measure 80.
A short coda made up of material from the linking
passage used from measure 41 to 48 brings the movement to a
close in A minor.
The second movement, a lyrical Andante, is a two-
part form, of which each part is a small open binary form in
itself.
161
Part I Part II
1 1 2 2
Intro. a b a modified b Coda
g^m: i * V7 VI - > i i V VI i > i
Calling for muted strings, it begins with a short introduction
played by the second violin and viola. The a1 melody of
Part I, angular in nature and covering a range of two octaves,
is introduced by the first violin in measure 2:
Ex. 746
The a segment comes to a close in measure 14 on the
dominant seventh of G sharp minor. A deceptive resolution
of this chord to the submediant triad marks the beginning of

1 / i.
the b segment of Part I (m. 14).
Although the key of G sharp minor is never com
pletely dissolved throughout this movement, the contra
puntal lines in the first four measures of the b segments of each
6. Ibid.
162
part (in. 14-24, 37-47) tend to obscure the tonality. The
melody of the b 1 segment, also angular in nature, is
characterized by duple rhythmic divisions:
Ex. 75?
Only the first three and one-half measures of the

1
a melody of Part I are literally restated as Part II begins
2
(a , m. 26), the altered consequent phrase acting as a bridge
2
to the second segment of Part II (b ). Except for the
2
addition of the double bass to reinforce the tonic pedal, b
is identical with b1 . A short coda (m. 48-51) brings the
movement to a close on a G sharp minor triad.
The third movement is a light-hearted dance in

1 1 2 3 2 U 8
sonata-rondo form (A B A CA B A = coda). The A sections
7. Ibid.
8. Because of the nature of the material and the divisions

within each section, the formal design also has the ^
characteristics of an episodical ternarypform. The A
section would thus comprise A1,B1, and A in the diagram
above; the B sectiog would be made up of _the .material in
C, with the final A section including A^, B , and A .
163
are made up of two complementary melodies, the first of
which (a1 ) is introduced by the first violin in measure 1:
Ex. 76'
^ AUegco 2
jfiocoso
a .
irjr
vwolto \eggero
the a melody follows in measure 17 after an authentic
cadence in the key of P major:
10
Ex. 77
S e e ^ S
---- m -------I
This melody closes in F major with the french augmented sixth
chord (m. 25) resolving to the tonic triad (F major). In all
of the A sections the harmonic progressions follow traditional
patterns.
The abrupt shift to F sharp (m. 27 and 115), which
suggests the Neapolitan relationship, marks the beginning of
9. Ibid.
10. Ibid.
164
the B sections. These two short sections provide a degree
of contrast with their emphasis on chromatic lines:
Ex. 7-811
The transitional phrases within the B sections are not
clearly set off, but the tonic key of F major is established
some four measures before the return of the main thematic
material.
The C section, which is centered in D, is itself
a small ternary form. While the material is somewhat
reminiscent of that which was used in both the A and B parts,
it is essentially new. The first part of the ternary design
begins in measure 62 (note the use of hemiola):
11. Ibid.
165
12
Ex. 79
-JT
The short middle part (m. 75-85) also includes
hemiola:
Ex. 8013
The opening figure of this melodic line is to be found in
the principal theme of thefirst movement (see Example 72,
measure 2).
In the concluding part of the C section the original
melody (see Example 79) is literally restated by first violin,
but transposed up a minor 10th. This section comes to a
close (m. 95) on the dominant seventh chord of F major.
o 2 4\
The recapitulation (A , B , and A ) is condensed
4
but otherwise almost literal. The A section (m. 124-142)
12. Ibid.
13. Ibid.
166
and the coda are combined. A four-measure cadential ex
tension (m..142-145) brings the movement to a close on the
note F.
Sonata for Violoncello and Piano, Opus 6_
According to the note in the score, this sonata is
dedicated to the composer's teacher, Rosario Scalero. Al
though written in 1932 (it is the last composition that

14
Barber wrote under Scalero's supervision), it was not
15
published until 1936. It was for this sonata, together
with Music for a Scene from Shelley, Opus 7, that the com-

poser received the Pulitzer Prize (May 6, 1935), and the
Prix de Rome (May 9, 1935) The judges who granted the
awards were Deems Taylor, Carl Engel, Leo Sowerby and Walter
17
Damrosch.
This three movement work is expressive in the late
Nineteenth Century, romantic style. The piano part, almost
equal in importance to that of the cello, requires a large,
expansive technique. The piano writing in Brahms' Trio in
14. Broder, 74.
15. Ibid., 100.
16. "Samuel Barber Wins Two Musical Awards," Musical America

(May 25, 1935), 27.
17. Ibid.
167
E flat major for horn, violin and piano, or the cello
sonatas might well have served as models for this work. While
an extensive range is employed in the cello part, the medium-
low and low registers are particularly stressed. The chord
structures are predominately triadic with the emphasis being
placed on chromatically altered types familiar in the late
nineteenth century.
Edward Tatnall Canby, in a short discussion of
this work on the jacket of the recording, describes the
generating source behind the sonata:
The 'Cello Sonata is thus largely built on one

striking concatenation of tones set forth in
the very first measures and constantly there
after: as a strange and twisted altered chord,
as melody, and (taking the tones separately or
in groups), as whole centers of tonality. These
tones spell out no more than a familiar augmented
sixth chord but the treatment is utterly unlikeR
the older conception of this chord's function.
The augmented sixth chord so referred to is the following
one:
18. Concert Hall Bl.
168
Ex. 8l19
The first movement, in sonata-allegro form, begins
immediately in C minor with the notes of the augmented sixth
chord in the form of a melody for the cello:
Ex. 822
A U c j r o w a w o v \t r o p p o J - 100
12
cu< EEg:
etc,
'ftf' jV t l
PP
P>.no
s
f
8va basta
t v \ p t ia W
19. Copyright, 1936, by G. Schirmer, Inc., New York
20. Ibid.
169
This theme (m. 1-16), which makes up the first part of the
principal thematic area, consists of only one expansive
sentence, whose antecedent phrase comes to_a close on a half
cadence in measure 8. The hocket-like cadence that concludes
the consequent phrase (m. 15-16) overlaps the beginning of
the second part: the C natural in the cello (m. 16) is a
part of the authentic cadence of the principal theme, while
at the same time it begins the new section.
The second part (m. 16-27) continues to emphasize
the basic chord (see Example 8l) as the cello becomes the
accompanying instrument for the rhythmic figurations in the
piano. At measure 23, following a prolongation of the sub
tonic chord (m. 21-22), a somewhat modified statement of the
first phrase of the principal theme is played by the piano
with the cello supplying rhythmic commentary outlining the
same augmented sixth chord. The "quasi cadenza" that follows
this entry leads to the transitional section at measure 28,
where a series of augmented sixth chords, arpeggiated by the
piano, is especially prominent (m. 28-42). This section
comes to a close (m. 43) on the dominant of the dominant of
A flat major (B^DF).
The lyrical second theme follows in the cello in
measure 43, spanning the gap between the dominant chord and
170
Its resolution to the tonic of A flat major in measure 44.
21
Ex. 83
The piano takes up the theme in measure 50, followed by the
oello in free overlapping imitation. The second theme area
closes on the tonic triad of A flat major (m. 58-59).
The augmented sixth chord is again a significant
part of the short closing theme (m. 60-66) that is played
by the piano over a repeated pattern in the cello (see
Example 84).
21. Ibid.
171
Ex. 8422 (Gb = F#)
m
H I
2
i
The exposition section comes to a close (m. 66) on the
original German augmented sixth chord (AbCEbF^), this time
with A flat on the bottom, which is resolved to a C major
triad as the development section begins in measure 67.
The development section (m. 67-92) concerns itself
with the first theme material only. While it begins on a
C major triad, the basic chord (CAbF$D) serves as the tonal
center from measure 67 to 77, giving way to the key of B
minor at measure 78. Of particular interest is the
sequential passage (m. 82-91) in the cello and piano, which
develops the apparently insignificant material of measures
16 and 17. Following a modulation to F sharp minor in
measure Qj , this section comes to a close on a D sharp major-

minor seventh chord. Because the recapitulation section is
22. Ibid.
172
regular, no further details are necessary.
1 2
The second movement, an episodical form (A BA ),
combines an Adagio with a Scherzo. It opens with a pastoral
melody, A1 , in the cello, beginning in the related key of E
flat major and ending on the dominant triad of F major:
The contrasting B section (m. 11-48, P major), a
Presto in 12/8 meter, begins softly in the piano and cello:
24
Ex. 86
The Adagio returns ix measure 48.
23. Ibid.
24. Ibid.
173
The melodic material of the final section (m. 48-

1
64) is freely adapted from the original melody of A . While
the harmonic progressions are centered in E flat major as
this section begins, a strong cadence on the tonic chord does
not appear until measure 55. The movement comes to a quiet
close with a perfect authentic cadence.
The finale, like the first movement, is in sonata-
allegro form. While it is true that this work is outwardly
romantic in style, the tonal relationships in this movement
show that it is inwardly contemporary. The composer's
preoccupation with the larger musical implications of his
basic chord is brought to the fore as this Allegro
appassionato unfolds.
The rapid but somber principal theme in C minor
that is introduced by the piano (m. 1-11) is a ten-measure
sentence consisting of an antecedent phrase (m. 1-5)
followed by two responsive phrases (m. 5-9, 9-il). The
major mode on C is momentarily emphasized as the theme
begins:
174
25
Ex. 87
A lle g r o * p p u * o v to M.M- J x S0
-r-r<
B_
b*~ J z i

p H
<
z /
W-~- --V fy----
'-
i r
i r i
The cello echoes the theme In measure 11 as the tonality
abruptly shifts to F sharp minor. This augmented fourth key

JL
relation (C-F ) emphasizes two important tones from the
first movement's generating chord structure (see Example 8l).
The transitional section begins at the Meno mosso
(m. 24) following an abrupt return to the key of C minor at
the end of the cello entry (m. 22). The thematic mat e n a l
is an outgrowth of the principal theme itself, a short two-
measure phrase that begins in measure 29 (see Example 88)
being later employed in the development section.
25. Ibid.
175
26
Ex. 88
CeUo g f c : f
Sewpt*e
Though the second theme (m. 36-46) starts on the
note E flat, it curiously centers about E minor. The cello
does not take part in the presentation of this theme, either
here or in the recapitulation.
Ex. 8927
Following a three-measure extension of the E minor cadence
(m. 44) that concludes this entry, the two instruments
bring the subordinate theme area to a close with a linking
26. Ibid.
27. Ibid.
176
measure ending on an augmented sixth chord (A^D^FB). This
chord slides down a half-step to G minor as the development
section begins.
The development section (m. 48-94), which is
rhapsodic in character, divides itself into two parts. The
first (m. 48-73), in the key of G minor, deals primarily
with the principal theme. An ascending chordal pattern at
measure 77* which again draws attention to the augmented
fourth and augmented sixth intervals, leads to the second
part at measure 73.
Sequential patterns based on the two-measure
phrase that appeared in the transitional section (see
Example 88) are shared by cello and piano from measure 77 to
88. The tonal center moves from A minor (m. 73-74) to E
flat minor (m. 75-79) and finally to E minor (m. 80-95).
An extended pedal emphasizing the notes E and G provides
a mediant-dominant prolongation that leads to the recapit
ulation section.
Nothing more clearly points up Barbers structural
ingenuity than what occurs as the recapitulation section
begins (m. 95). The piano provides a striking return to
the principal theme in F sharp minor with that familiar
177
tone in the cello's uppermost range. What was C minor is
now F sharp minor, and when the theme is stated by the cello
(m. 104), what was F sharp minor is now C minor. This
reversal of tonalities, which again draws attention to the
basic chord, effects a dynamic balance of key relations that
is certainly contemporary in feeling. The following diagram
will summarize the remaining part of the recapitulation and
the coda:
Recapitulation Coda
m. 95-114 m. 115-127 m. 128-140 m. 141-167

Pgin. theme. Transition 2nd theme. Emphasis on
F* minor section. Beginning on the two-
(m. 95-103) Essentially as the note A, measure
C minor before; but centering transition
(m. 104-114). A minor -> F in A minor. phrase (see
minor. An almost Example 8 8 ).
literal re Centered in
statement. C . Movement
ends on an
open 5th
C-G.
String Quartet, Opus 11
In 1936, while Barber was living at a lodge in
S t . Wolfgang near Salzburg, he wrote the chorus Let Down the
Bars, 0 Death, the song I_ Hear an Army, and the String

28
Quartet, Opus 11. Although the quartet was written
28. Broder, 3 3 .
178
and published as a three-movement work, the composer now
regards it as consisting of only two movements, and prefers
that the Molto allegro section from pages 14 to 16 of the

2Q
first edition of the score be omitted in performance; how
ever, for the sake of completeness, it will be analyzed here.
In 1937 Barber made a string orchestra arrangement

30
of the second movement, naming it Adagio for Strings. The
popularity of this version, which is published separately,
has resulted in neglect of the quartet itself. Because the
Adagio for Strings is merely an arrangement and not a re
vision of the original movement, it will not be separately
taken up in this study. The work in its original form was
first played by the Pro Arte String Quartet in December,

31
1936, in Rome.
The first movement, Molto allegro appassionato,
is in sonata-allegro form. The principal thematic area

*1 p
(m. 1-3 1 ) is a small ternary design (a ba ), the first nine
measures of which present the theme (a_L) and serve as an
introduction:
29. Ibid., 74.
30. Ibid., 33, 34.
31. Ibid., 100.
179
Ex. 9032
liotTe allegro e appass ioY))Ie j - r i b \
VII
> =. r *- =gi|t -f\-T*-r>
to----------
------ =
r+-
v ie .... C j 0: - -
v - p
(
r4
sC
vu.
rjfr
.
r m - i -33- . &.T' p
j - l E _ g p . . . i r r i _ 4 t -
*
0

*--------
Vc. Li--------
f ^
*
(The encircled notes and arrows will be referred
to when the closing theme is discussed.)
The b segment (m. 10-25), which develops and elaborates the
principal material, leads to a repetition of the unison

2
passage illustrated in Example 90 (a , m. 26-31). While
this section is centered in B minor, the constantly shifting
harmonies and the absence of strong dominant progressions
32. Copyright 19^3, by G. Schirmer, Inc., New York.
180
tend to conceal the key.
A short transitional phrase (m. 32-37) establishes
the key of E major E minor and leads to the subordinate
area at measure 37 (see Example 91)* The cadence in measures
36 and 37 leading to the tonic triad of E major consists of
an augmented sixth chord with an ornamental resolution:
33
Ex. 91
rU malto
1

fife
J.lfO-p
^pp p
s
p Pi
33. Ibid.
l8l
While the key of E major predominates throughout
the B part of the subordinate area (in. 37-C.60), the
parallel minor mode on E and the submediant triad on C are
utilized. This section divides itself into two general
areas; the first (b1, m. 37-49 )> begins with a triplet
figure and employs repeated notes:
Ex. 9234
ate poco r it.
V II
The second (b^, m. 50-C.60), consists of a paraphrase of
the b^ melody along with a two-measure sequential pattern
34. Ibid.
182
outlining a descending scale:
Ex. 9335
& tempo prime
.1 . b 'v w tlo jy
t c . T r r_ e
m = m
VU $ T P
VUE
Wj-: .
V ta . " w
This section is concluded by a motive derived from the
principal theme.
The quarter notes that make up the beginning of
the closing theme that follows in measure 63 are taken
directly from the principal theme itself. A comparison of
Example 9^ with the encircled tones in Example 90 will
35. Ibid.
183
show the derivation.
36
Ex. 94
Piu.imifo
f - J - 4 - J ^ -
= = - --
d
fy | - f r r ...i y -
---- -----
w
The closing area (m. 63-93) is centered around E ending with
a deceptive cadence in measure 93.
The development section (m. 94-142) deals with the
principal thematic material and the closing theme, which is
itself a derivative of the principal theme. The quarter
note patterns that appear from measure 120 to 133 recall
36. Ibid.
184
measures 10 and 11 of the principal section and also the
closing theme.
The tonal center on E at the beginning of this
section is short lived. Following a fleeting reference to
B minor in measure 105 where the violins and viola present
stretto imitations of the head motive of the principal
theme, the tonality shifts to B flat (m. 109). The re
tention of the D flat major triad from measure 129 to 132
suggests the dominant of the dominant of B minor. It is
treated, however, as an augmented sixth chord resolving to
the Neapolitan harmony of B minor (CEG). A dominant pro
longation in the key of B minor immediately follows in
measure 135 and is retained to measure 143. A series of
stretto imitations of the head of the theme (m. 139-142)
leads to the original tempo and the beginning of the re
capitulation (m. 143).
The restatement of material is abbreviated and
the transitional phrase leading to the subordinate area is
omitted. Because this section is otherwise regular, it is
summarized in the diagram that follows.
185
Principal Theme B Section Closing Theme-Coda

(m. 143-163) (m. 164-193) (m. 194-203)
B minor
Principal theme; Almost literal Altered and
abbreviated ending except for key. abbreviated over
on the tone B in tonic pedal. Ends
measure 1 6 3 . on unison B.
Harry Dexter says this about the second

movement:
Harmonically, the composer deliberately restricts

himself to the simplest effects, which, on paper
at least, often seem almost banal. Melodically,
the work seems sterile, and the climax too
calculated to achieve a genuine effect.37
To the contrary, this writer feels that here it is through
the use of simple harmonic and melodic material that a
sincere and deeply felt musical experience results.
The form of the movement, Molto adagio, can best
be dealt with through the "arch" concept. Through a series
of repetitions and extensions of a single theme (see Example
95) a dramatic climax is reached, and as the tension is
abated, a final statement brings the movement to a quiet
close. The characteristic structure of the cadences,
which tends to set off and yet merge several statements of
the theme, makes the ascent to the climactic point a
continuous one.
37. Harry Dexter, "Samuel Barber and His Music," 287.
186
The long, sustained expressive theme, of which
only a part appears in the following example, is stated
in measure one beginning with the first violin alone:
Ex. 9538
VU
V II
The melodic flow is only slightly interrupted by the half
cadence in B flat minor that ends the first sentence in
measure 8:
38. Copyright, 19^3* G. Schirmer.
The second sentence closes with a plagal cadence in B flat
minor (m. 19) after having passed through E flat minor and
D flat major on the way. Following a more marked diversion
to E flat minor that ends with the Neopolitan chord resolv
ing to the dominant (m. 27-28), B flat minor is restored.
The tonality shifts more strongly to E flat minor as the
final rise to the climax begins in measure 44. At this
point the viola imitates the second violin at the fifth
above (m. 46) and in turn is imitated by the first violin
at the twelfth above (m. 47). The climax is reached at
measure 52 on the Neopolitan chord in first inversion of

, b b bx
E flat minor ( F A C ).
A short linking phrase (m. 53-56) provides a
return to the original tonality. The concluding statement
39. Ibid.
188
of the theme (m. 57-6 9 ), which is abbreviated, comes to a
close on a half cadence in B flat minor, leading without
pause to a somewhat altered repetition of the first movement,
beginning in B flat minor and omitting the B section of the
original exposition. The return to B minor is accomplished
in the closing measures of the coda. The following diagram
summarizes this section:
Principal Theme Closing Theme Coda

(m. 70-91) (m. 92-123) (m. 124-142)
b part of the original Centered around Emphasis on head
ternary design is E with a fleet motive of principal
omitted. Begins in ing reference theme. B minor
B minor, ends on to E minor established at
note C. (m. 110-114). measure 134. Ends
on B minor triad.
189
Chapter V
THE CONCERTOS
Concerto for Violin and Orchestra, Opus 14
In the summer of 1939 Samuel Barber had settled
in Switzerland to work on a violin concerto, which had been
commissioned by a wealthy Philadelphia merchant for a young
prote'ge.'*' He did not, however, remain in Switzerland very
long, but returned to Paris, planning to complete the con
certo there in the fall. It was completed In the fall of
1939 > but in the United States rather than Paris. Shortly
before September 1, the date that Poland was attacked by
Germany, Barber had complied with the warnings of the
French government and returned to his home in New York
state.2
The first performance of the concerto with
Albert Spalding as soloist was given at a concert of the
Philadelphia Orchestra, Eugene Ormandy conducting, on

, 3
February 7 , 1941. It was introduced to a New York

1954), 34.
2. Ibid., 35-
3. Ibid., 36.
190
audience four days later when the Philadelphia Orchestra
played in Carnegie Hall.
Like several other works by Barber, this con-,
certo has undergone revisions; the revised version is being
used for the present analysis. At this time the orchestral
score and parts are available only on rental from the
publishers. The published version is for violin and piano,
which, of necessity, will have to suffice for this pre
sentation. While there are some indications of the
orchestration included in the piano part, they are by no
means complete.. Judging from the recording, the scoring
is for small orchestra using woodwinds in pairs, two horns,
two trumpets, timpani, piano and strings.
The first movement is written in sonata-allegro
form. It opens immediately with a melody of almost classical
simplicity for the soloist (see Example 97). The melodic
line employs the diminished-minor and major seventh chords;
the interval of a seventh, both major and minor, also
assumes an important melodic rle.
4. Ibid., 36.
191
5
Ex. 97
Allegro
" ^ ----- - U T -
= = _ , |t
M
iTTn fjjJ
W' w
erpress.
O '
------- 4 v --------- 1 j
.... 0-----------
rasi
|j= = J s.... a
Mi
- - - p8z_:----- .
The principal theme area (m. 1-24) is in the key
of G major with a decided stress on the subdominant area of
C major. While some use is made of the major and major-minor
seventh chords, the chord structures are predominantly
triadic. It will be noted too, that the added tone
technique (added 4th and 6th) is apparent from measure 19
through measure 22. At the close of the principal theme
area in measure 24 on a C major triad, the solo instrument
alone provides a two-measure bridge passage of ascending
sixteenth-notes, which, like the principal theme itself, is
derived from the diminished-minor and major seventh chords.
5. Copyright 1942, 1949, by G. Schirmer, Inc., New York.
192
The changing tone figure is also an important part of this
passage:
6
Ex. 98
(* C.T. = changing tones. The circles around the notes are
used to point out the filled-in seventh chords.)
The second theme area begins in measure 27 with
the first subordinate theme (B^), whose antecedent phrase
skips gravely through the clarinet in the key of E minor,
under an inverted pedal on B:
6. Ibid.
193
Ex. 997
In the above example it may be seen that the Phrygian mode
is suggested by the consistent use of F natural; the
descending fourth is also stressed. The consequent phrase
that begins in measure 32 retains the rhythmic anacrusus of
the first phrase, and, like the principal theme, it stresses
triplet figurations. The harmony from measure 33 through 37
is static, being primarily made up of a diminished seventh
and diminished-minor seventh chord on F sharp.
g
A ritornello aspect of the movement, which is
brought about by two appearances of the principal theme in
this area, is a cohesive factor in the formal design of the
7. Ibid.
8. Cedric Thorpe Davie, Musical Structure And Design

(London: Dennis Dobson, 19^3)/ 9;1-.
194
exposition section. Except for the change of key to E
major, a literal reappearance of the principal theme
occurs from measure 40 to 50j the next reference to the
principal theme (m. 61-6 5 ) is limited to a figure made up
of four sixteenth-notes, which is associated with the head
of the theme.
2
The second subordinate theme (B , m. 49-60) is
basically in E minor. It begins with a sprightly figure,
which has the air of a closing theme:
Ex. 100
Beginning with the fourth beat of measure 51, the solo
instrument and the clarinet interchange a motive that
stresses augmented and perfect fourths. They continue
this ascending and descending fourth-chord figuration in an
ostinato-like manner through measure 57. The solo violin
takes over altogether in measure 58 with a succession of
rapid scale passages leading to a dissonant outburst, the
9. Copyright, 1942, 1949, G. Schirmer.
195
only one in the entire work, based on a figure from the
principal theme. (This reappearance of the principal
thematic material in measures 61-65 has already been re
ferred to in connection with the rltomello aspect.)
A whole tone chord, which is outlined in measure
66, functions as a dominant to E minor and leads to a re
appearance of the first subordinate theme (B1 ) in that key.
A literal restatement of the antecedent phrase of the
theme, over a throbbing repeated E, brings the exposition
to a close.
A change of tempo and a change of key mark the be
ginning of the development section (m. 79-124), which con
cerns itself almost exclusively with the development of the
principal theme. The B 1 theme does, however, appear in the

2
closing measures, and the B theme, with its emphasis on the
interval of the fourth, is suggested from measure 93 through
104.
Beginning in the key of B flat major, the solo
instrument plays an ascending figure in triplets outlining
a major-minor seventh chord, sustaining then a high B flat
while the strings introduce the principal theme in measure
81. An augmentation of the four-note figure from the head
of the theme is then taken up by the solo violin (m. 86),
196
leading In measures 89 through 92 , to an augmentation of the
material that appeared in measures 15 through 18.
In measure 93 the solo part suggests the sprightly

2
motive that made up the B theme, but the accompaniment
figuration, now primarily made up of a G flat major seventh
chord, is derived from the principal theme. The B flat
pedal (m. 93-98) finally gives way to a D pedal in measure
99> which serves as a submediant pedal to the key of E
major in measure 105. A cascading figure beginning in
measure 105, which is a development of the second measure
of the principal theme, prevails as the key center changes
to G minor (m. Ill) and to D major (m. 118). As the B1
theme is introduced by the winds and piano in measure 118,
a dominant prolongation (somewhat disguised by added tones)
is set up and extended to the beginning of the recapitula
tion section (m. 125-190).
The recapitulation of the principal theme is given
to the full orchestra at the dynamic level of forte rather
than just the solo instrument. With but slight exceptions,
the thematic material of both the principal and subordinate
areas is restated literally. The passage that concludes the
principal theme area (m. 147-150), is slightly changed in
both the solo and accompanying parts, now ending on an E
197
flat major rather than a C major triad as before. Except
for being transposed up a major third, the two-measure
bridge passage from measure 150 to 153 is identical with
that which appeared in the exposition section (m. 24-27).
This linking passage leads to a literal restatement of the

1
first subordinate theme, B , in the key of G minor, and,
as before, the consequent phrase of B1 is followed by a re
statement of the principal theme. Although the key of C
minor is predominant at the outset of the principal theme
(m. 166-169), G minor prevails. A literal restatement of

2
the second subordinate theme, B , in measure 174 (the closing
2
theme aspect of B is more definitely sensed in this section
than before) leads to the introduction of a prolonged tonic
pedal beginning in measure 185. A descending figure derived
from the second measure of the principal theme culminates
on a forceful unison on the note E flat. While the tone E
flat is being held by the timpani and lower strings, the
solo violin plays a short cadenza based on the motive from
the second measure of the principal theme and also on the

2
motive in fourths of the B theme. The cadenza is followed
by a restatement of the B^ theme at the beginning of the
coda at measure 191* A rhythmic tonic pedal underlies al
most this whole section. The principal theme, although now
freely transformed, is once more introduced at measure 208,
198
with the movement coming to a quiet close on a complete G

major triad.
The second movement is in many ways akin to the
Adagio for Strings, hut is considered by some critics to be
much stronger melodically than that work, and emotionally
not so obvious. Like the Adagio for Strings, the emphasis
is on a flowing, lyrical melody. The solo part is simple
and clear with a minimum of violinistic acrobatics. This

1 2
Andante, which is cast in three-part form (A BA ) with a
short introduction and coda, begins in C sharp minor and
ends in E major. The chord structures, as in the first
movement, are predominantly triads, a limited use being
made of the major-minor, diminished-minor, and diminished
seventh chords. While the root movement of chords is
largely by fifths (or fourths), extensive use is also made
of chords whose roots are a third apart.
1
Part 1, A , is a ternary form in itself, whose
first section, a \ begins its song in the oboe:
199
Following a kind of plagal cadence in measure 7 , the second
section, b, begins with the head of the theme transposed up
a major third, closing in measure 16 with an authentic
cadence in E major. An overlapping takes place in measure
16, where the cellos begin section three, a , with a state
ment of the theme on the cadence chord of the b part. The
third section is concluded in C sharp minor in measure 18
with a plagal cadence not unlike the cadence to part 1. The
clarinet and oboe (m. 1 7 -2 1 ), using a six-note motive
derived from the second phrase of the theme (see Example 101,
5-6), provide a linking passage that leads to a sudden
modulation to B flat minor and the beginning of the bridge
section (m. 21). The melodic material of the bridge passage,
which is presented by the strings and horn, is derived from
the head of the principal theme and its transformations. A
pedal on B, which is set up in measure 28 as the horn
10. Ibid.
200
concludes the bridge section, extends through measure 36.
In measure 30, a dominant prolongation (the tone E, which
is sustained by the horn, might be considered as an added
fourth to the incomplete major-minor seventh chord on B) to
the key of E minor is begun, the tonic of E minor being
reached in measure 37*
The solo violin enters in measure 30 with a
melodic passage outlining triads. This passage has the air
of an introduction leading to the B theme proper beginning
in measure 37 at the Piu mosso; the fact that E minor is
rather forcefully reached at measure 37 supports the major
division of the form at this place.
Part Two, B, is a binary form in itself. The solo
violin states the theme of Part 1, a, supported by the brass
and strings beginning in measure 37. (Like the principal
theme of the first movement, this theme is based on chord
outlines; note measure 38 particularly.) The a theme
comprises one sentence, extending from measure 37 to
measure 46, which is made up of a descending sequential
pattern based on measure 3 8 . Although the tonic of E minor
was established at measure 37* it is quickly followed by a
progression of chords in P major. The latter key is reached
at measure 46, but it is not firmly established until
*>
201
measure 50.
A three-note motive followed by a descending leap
of a fifth, which appears in measure 41, is used from
measures 46 through 48 as an ostinato figure forming a
transitional phrase leading to the b theme of Part Two. In
the following example it will be seen that the solo instru
ment also employs the figure:
11
Ex. 102
U n poio a g ita to (in 3)
tr.
-AIN
The above figure, which is derived from the theme of Part 1
(see Example 101, m. 6), leads to the b theme of Part 2
11. Ibid.
202
(m. 5 0 ) as the key of P major is firmly established.
The head of the b theme is derived, through
augmentation, from the ostinato figure illustrated in
Example 102; the original rhythmic form appears in the
solo part in measure 52. Over a prevailing tonic pedal on
P, the solo instrument plays a cadenza-like passage begin
ning in measure 59 that brings Part 2 to a close. At

A
measure 60, a german augmented sixth chord (FACD ) is held
in the strings as the soloist trills the note E flat (D^).
The augmented sixth on P expands to an E major triad, the
key of Part 3.
2
Part 3, A , consists of two reappearances of the
principal theme. Except for the omission of the first two
measures, the first restatement is literal (m. 61-72). This
is followed by a bridge passage not unlike that which was
used in Part 1, leading to another almost literal restate
ment of the principal theme in the key of C sharp minor
(m. 89-95).
The coda (m. 95-II5 ) serves to summarize the
material that was used in the entire movement, the material
from all three parts being presented simultaneously. The
solo violin presents the ostinato figure that was used in
203
Part 2 and the descending chord pattern that made up the
a theme of Part 2; the upper strings utilize the a theme of
Part 2 and a part of the bridge passage from Part 1; the
melodic passage in the horn, which follows later in the
trumpet, is derived from the principal theme of the movement,
and the cadenza (m. 105-107) is based on the ostinato figure
of Part 2. A descending chord motive from the a theme of
Part 2 is presented by the solo violin (m. 110) cadencing
on an E major triad in measure 112. This cadence is extended
some three and one-half measures by repetition.
The sharp contrast between the finale and the
other two movements is openly criticised by Harry Dexter. In
his article in Musical Opinion, he states:
The third movement to which I have already referred,

is a perpetuum mobile, which, powerful as it is,
with its immense technical accomplishment, its
drive and dramatic denouement, is hardly the right
finale for the other two movements. In it one feels
that instead of running-off the first two movements
Barber throws them overboard.12
While Dexter's criticism seems valid to this writer, there
is at least a reasonable explanation for this sharply con
trasted movement. As previously stated, this work was
12. Harry Dexter. "Samuel Barber And His Music," Musical

Opinion J2 (March 19^9)> 286.
204
commissioned by a wealthy merchant for a young protege', who
after seeing the first two movements, complained that they
were not only far too easy, but they were not brilliant
enough for a concerto. Barber set out to satisfy his client,
but as it turned out this effort, too, was fruitless, since
the violinist thought that the last movement was far too
difficult, indeed, unplayable; for this reason, the composer
was obliged to return half the fee, the violinist in turn

13
relinquishing his right to the first public performances.
While the character of the finale is somewhat
reminiscent of the last movement of Mendelssohn's Italian
Symphony, the irregular rhythms and dissonances (largely a
result of the added tone technique) are quite un-Mendelssohnian.
The more frequent use of irregular rhythms and the increase
in the dissonant quality of the harmony are two important
factors in the composer's apparent desire to cast off the
chains of conservatism that were manifest in the first two
movements.
The material falls into a rondo form with a short

1 n o
two-measure introduction and a coda (intro. A BA CA-5 and
Coda combined). It is based on the following theme and
13. Broder, 35.
205
its extensions played by the solo violin:
14
Ex. 103
j3jPrjto iv\wiotc ptrpfttuo
Violivt k k
Some contrast is provided by the appearance of a theme in
the orchestra beginning thus:
15
Ex. 104
C l> o b
P m * v n a rc a to
The movement may be diagrammed as follows:
14. Copyright 1942, 1949* G. Schirmer.
15. Ibid.
206
Intro. B
m. 1-2 m. 3-58 m. 59-84 m. 85-104

Fragment of Theme in solo Literal repeat The "contrast-
principal violin over of theme in A ing theme"
theme in rhythmic chords minor followed and a jagged
timpani., in orchestra. by modified figure of
establishing A minor m. 3- appearance of as cending
the key of A 17 D minor theme in C and descend
minor. m. 18-28 major and C ing intervals
C major and minor (m. 75- of the ninth
C minor 84). comprise the
m. 23-38. essential
material.
Free use of
parallel
modes with a
central tonic
on C is
evident.
A and Coda combined

m. 105-144 m. 145-172 m. 173-189
m. 130 4------- Predominantly in A minor
A literal re Four appearances Principal theme in
statement of of "contrasting diminution in solo violin
theme in A theme," stress against punctuating chords
minor in being placed on in orchestra. Effective
strings repeated note use of polyharmony (m.
(m. 105-111) aspect. 185); E flat minor against
followed by F major seventh chord.
transformation Augmented fourth root re
of theme. lationship stressed in
Ostinato in final measures Eb minor
solo violin seventh chord to open
stressing fifth on A and E that
interval of the closes movement (trumpets
sixth. emphasized this augmented
E d m. 114, fourth earlier from
moving to C measure 171 to 172).
major and
minor m. 121,
back to A
minor, m. 130.
207
Capricorn Concerto, Opus 21
The Capricorn Concerto, Opus 21, was named after

1ft
Barber's house on Croton Lake at Mt. Kisco, New York.
17
Written in 1944 especially for the Saidenberg Little
Symphony, the work is scored in concerto grosso style after
the manner of the Bach Brandenburg Concerto No. 2 for flute,
oboe, trumpet (concertino group), and strings.
This work is characterized by a rather dry,
brittle quality, which is in sharp contrast to those works
belonging to Barber's first (so-called neo-romantic) period.
Tonally, the composition is essentially in the key of C
major. The latter key, however, is not definitely proclaimed
until the third and last movement. The first two movements
show Barber's predilection for the third relationship; the
first movement centers around A minor, a third below C, and
the second movement is clearly in the key of E flat major,
a third above C. The chord structures are largely triadic
in origin, but extensive use is made of the added-tone
technique. The harmonic language is definitely not atonal,
or polytonal, but the use of chords with added tones, and
16. Broder, 3 8 .
17. Ibid., 102.
208
other coloristic devices (polychords, etc.), often obscures
the harmony to such an extent that it is sometimes difficult
to identify the tonal center at a particular moment.
Although the formal design of the first movement
bears some resemblance to the rondo, all the material is
constructed from motives presented early in the movement.
The individual themes are constructed in such a manner .that
a certain amount of contrast results, but they are all so
obviously related that the principle of motivic development
(or variation) seems to be the generative factor. Indeed,
the form of the movement might, when judged by normal
standards, be felt to be rather loose, and the rhythmic con
trasts between large sections too great. Yet the inner
coherence and unity produced by the motivic development is
enough to hold the movement together in a very satisfactory
manner.
It is possible to identify four principal motives
that are stated in the introduction. The material out of
which the entire movement is to be developed appears in the
introduction. The character of the music is very terse, the
lines being rather disjunct, and the rhythm syncopated.
209
18
Ex. 105 The four principal motives
It is possible to divide the movement into three
main parts, and to further divide the parts into sections.
Part 1 extends from measure 17 to measure 53* This
part is a fugal development of a subject that is partially-
made up of motive one. The principal contrapuntal device used
is that of stretto. (Note: m. 29-32, 33-34, 37-40, and
52-53).
In the first section of Part 1 (A1, m. 17-40), the
solo group, beginning with the oboe, then the flute, and
finally the trumpet, introduces the fugue subject. The ex
position of the fugue subject is carried out along rather
traditional lines. The subject, as announced by the oboe, is
18. Copyright, 1945, by G. Schirmer, Inc., New York.
210
given a real answer at the 5th above by the flute in
measure 21. The material in the oboe part, measures 22-23,
has the appearance of a countersubject. These subjects later
appear in inversion at the octave (m. 26). At measure 29,
the violas, cellos and basses state the subject in stretto,
replaced by the upper strings at measure 33* The solo group
returns (m. 37-40) with another stretto of the subject. This
entire section emphasizes the tonic key, A minor, very
strongly.
The second section of Part 1 begins in measure 4l
and extends to measure 45. This section is composed of a
stretto of the first three notes of the fugue subject be
tween the violins, and also a stretto of a melody derived
from motive one. The tonality here is E major.
The third section of Part 1, measures 46-53, is an
emphatic restatement of the fugue subject in the tonality of
C sharp minor.
Part 2 is built upon all four of the motives that
were stated in the introduction plus the fugue subject, which
was itself shown to employ the first motive. It is a return
to the terse, rhythmic style of the introduction, which is in
sharp contrast to the lyricism of the fugal section. This
part of the work emerges as the principal section of the
movement.
211
The first section of Part 2 (A, m. 5^-90), opens
in the solo group with a fragment based on motives one and
three, which is answered by the violas and cellos with
material derived from the fugue subject. This interplay con
tinues with other fragments appearing in the course of the
development of the movement. Note the appearance of motive
two in measure 6 6 , and again in measures 79-8^ (in stretto).
Motive four appears in measure 8 5, and motive two is again
used in measures 8 8-8 9 .
The second section of Part 2 (B, m. 91-99)> in
troduces a new theme. This new theme introduced by the oboe
in measure 91 has strong rhythmic ties with the preceding
material, but it is nevertheless somewhat more relaxed in
nature. The theme retains the rhythmic figure that is
associated with the head of motive two; the accompaniment in
the violins, although now in a different rhythmic dress, is
suggestive of motive one. Following a short statement of the
theme by the first violin in measure 95> a return is quickly
made to the original material of the section at measure 100.
The third section of Part 2, C, begins in measure
100 and extends to measure 129. After a short statement of
the principal theme of this section (m. 100-102), a stretto
of material derived from motive two occurs in measures
212
103-109. There follows a melody that is developed primarily
from motives one and three. This theme assumes much import
ance, as it is heard three times: first in the trumpet
(m. 109-1 15 )* next in the oboe (m. 117-123), and finally in
the flute (m. 124-129).
Section four of Part 2 (A2, m. 130-157)* begins
with a short restatement of the principal theme of Part 2.
The theme of the third section of Part 2, C, is stated (in
part) in the cellos and basses (m. 133-140) over which appears
a canonic treatment of a fragment derived from motive one.
Against an P-C pedal in the strings is set a development of
the fugue subject (m. 142-145). This is followed by motive
two in both the flute and oboe parts. The remaining measures
of this section produce a rhythmical cadencing effect that
brings Part 2 of this movement to a close in the key of A
minor.
Part 3, the coda, (m. 159-199)* is composed of two
main sections. The first section (m. 158-163) is a return
to the fugue subject, briefly reestablishing the lyric mood
of that part of the movement. It is of such short duration,
however, that it seems almost an after-thought. This fleet
ing reference to an earlier mood is reminiscent of a similar
occurrence in the Coda of the Scherzo section of the First
213
Symphony. The second section of the coda (m. 164-196) re
turns to the terse, mechanistic mood of the introduction as
the tonic key of A minor is strongly re-emphasized.
The second movement is written in three-part

1 2 l
episodical form (A BA ). The first part, A , is in itself
ternary, considering the relatively short length of the
movement, the degree of contrast achieved in the middle
section seems slightly excessive. The material, however,
is derived from the A section.
In Part 1 (a\ m. 1-29), which is in the key of E
flat major, the first section (a\ m. 1-9) is composed of two
four-measure phrases plus a one-measure extension by
repetition of the cadence. In the second section (b, m. 10-
1 5 ) the same dry, scherzo-like quality of the previous one
is maintained, but some contrast is achieved. Section three

2 T
(a , m. 16-24) is structurally identical to a ; the tonality,
however, is G flat major. The principal theme is heard in
the trumpet against the counter melody in the oboe in the
codetta section (m. 24-29). E flat major is reestablished
and the concluding cadence is extended two measures through
repetition.
Part 2, B, extends from measure 30 to 39.
Rhythmically and expressively, this short section is in
214
marked contrast to the preceding. The material, however, is
very clearly derived from the principal theme of Part 1.
(Note the use of the ascending third motive.)
2
Part 3i A , is composed of three restatements of
the principal theme with its ever present counter melody.
The theme appears first in the flute (m. 40-43), then the
trumpet (m. 44-46), and finally the oboe (m. 47-51).
Measures 51-56 constitute a coda based upon the counter
melody. It might be noted that at this point the material
bears a generic resemblance to motive one of the first move
ment. The cello brings the movement to a close, ending on
the note E flat.
In the third and final movement C major is affirmed
as the tonal center. The trumpet opens it with a fanfare
like passage against strong C major chords in the strings.
The form is a rondo (A^BA^CA^DA^) with some of the
characteristics of the sonata rondo. The A sections of this'
movement are all remarkably diatonic. The only accidentals
encountered up to measure 32, for example, are B flat and F
sharp.
1
Part 1, A , extends from measure 1 to 31. This
part divides itself into two sections (somewhat resembling
the principal and subordinate themes of sonata form). The
215
first section of Part 1 (a, m. 1-22) is entirely in the key
of C major, and consists of the fanfare-like trumpet passage
and a subsequent motivic development of it. Note, for ex
ample, the stretto (m. 20-2 3 ), which serves as a link'to the
next section. In the second section of Part 1 (b, m. 23-31)
a new melody appears in the oboe (m. 23-25). This melody
itself is in the key of C major, but the prevailing tonality
here is P majoi.
Part 2, B, begins in measure 32 and extends to
measure 60. While the preceding section was notably diatonic,
this section is exceptionally chromatic, by which a rather
exaggerated contrast is produced. A new motive of two
descending semitones emerges as the principal structural unit
of this section; it pervades this entire part.
2
A return to the principal material, of A , is made
at letter G, measure 61. This part is again predominantly
diatonic. The trumpet passage is now set a third higher
than before. The flute and oboe add color to the C major
triad that is forcefully reiterated by the strings.
Part 4, C, (m. 71-114) is rather developmental in
nature. The tonality is almost entirely that of E major.
The material consists chiefly of rhythmic mutations of
216
motives previously stated. Although the melody that is
introduced by the viola at the very outset of the development
section, measure 7 1 # does not assume any degree of importance,
several fleeting references are made to it later in the
movement.
Part 5> A , divides itself into two sections like
A1 . It extends from measure 115 to 150. The first section
(a, m. 115-125) consists of the trumpet passage in the tonic
key of C major. Note the pedal B flat and the prevailing B
flats in the upper parts, which make this section assume the
character of a dominant prolongation in the key of F major
(the key of the succeeding section). The second section,
(b, m. 126-150) is made up of the same material as in the
corresponding section in A, but is somewhat extended. Note
the canonic treatment in measures 134-137# which appears

13
over a V prolongation (m. 134-140). The principal theme
(a) is heard in the cellos and basses (m. 141-149); this
section provides a tonic prolongation and serves as a
codetta.
The principal melodic material of Part 6 (D, m. 151-
168) consists of two rather noncommittal themes; the first a
chorale-like melody:
.217
Ex. 10619
Svi,---------
S f f i f f f t ir P
the second Is an obbligato-like counter melody:
Ex. 10720
1Frctjllg
Neither is traceable to any other theme in the rest of the
movement. The tonality is C major.
A strong restatement of the principal theme of the

4
movement is made in Part 7 (A , m. 169-1 78 ), and the work is
brought to a forceful close in the tonic key of C major.
Concerto for Violoncello and Orchestra, Opus 22
This concerto was commissioned by John Nicholas
Brown of Providence, Rhode Island, an amateur cellist, for
19. Ibid;
20. Ibid.
218
Raya Garbousova.21 Completed on November 27, 19^5, it was
given its premiere on April 5* 1946 by the Boston Symphony
Orchestra, Sergei Koussevitsky conducting, with Raya

22
Garbousova as soloist. In 1950, the composer accepted an
offer from the London Gramophone Corporation to record some
of his works in England, with himself as the conductor.^
According to the information on the jacket of the record,
the Ballet Suite Medea, the Second Symphony, and the Violon-
cello Concerto were recorded at Kingsway Hall in London dur-

24
ing December of 1950.
While there are many passages in this work that owe
a great deal to the Capricorn Concerto (1944), it is apparent
that the composer is extending rather than merely repeating
the compositional techniques that he used in his earlier
work. The solo writing in this composition, when compared
with that of the Violin Concerto, which was written six years
earlier, consistently calls for greater virtuosity on the part
of the performer. In addition to the many cantilena passages,
21. Broder, 38.
22. Ibid., 102.
23. Ibid., 39.
24. Zara Nelsova, cellist, with the New Symphony Orchestra

conducted by the composer (London LPS 332).
219
It bristles with multiple stops, harmonics, and difficult
patterns requiring rapid shifts in position. Besides the
solo cello, it is scored for 2 flutes, 1 oboe, English horn,
2 clarinets, bass clarinet, 2 bassoons, 2 horns, 3 trumpets,
percussion and strings.
The classical double exposition is apparent in the
first movement, Allegro moderato, in which the composer uses
the sonata-allegro design as his point of departure. The
principal material is stated first by the orchestra, the
solo cello then dealing with all of it in one form or
another. An angular motive (Motive l) that begins the work
(see Example 108) leads directly to one of the principal
themes and returns occasionally during the course of the
movement; it also introduces and ends the development section

25
and brings the movement to a close.
25. The reappearance of this instrumental introduction as the

movement progresses supports the ritornello conception
of the form as described by Cedric Thorpe Davie, Musical
Structure And Design, 5^.
220
E x. 10826
1st TViev.
The chords are for the most part built in thirds
with added tones; there are, however, several passages that
show quartal derivation. Much use is made of pedal points,
ostinato figures, and unison passages.
The tonality of D minor is established as the
flute and English horn introduce the first theme (see
Example 108, measures 3 - H ) over a rhythmic ostinato-like
figure in the clarinets. Although major and minor seconds
are stressed in this accompanying figure, the dynamic level
and the lower range of the clarinets greatly minimize the
dissonant quality. Punctuating chords in the lower strings
and an inverted dominant pedal in the first violins are also
present.
26. Copyright 1950, 1952, by G. Schlrmer, Inc., New York.
221
The bassoons introduce an important transitional
phrase in measure 11:
27
Ex. 109
It provides a rhythmic contrast to the lyrical quality of the
first theme and to the second theme that follows in measure
19 (see Example 110). The submediant harmony is substituted
for the tonic triad of D minor as the second theme begins in
the first violins:
28
Ex. 110
A fragment of the transitional phrase, which appears
in the second bassoon in measures 27 and 28, leads to another
appearance of Motive 1_ in the first violins, imitated at the
octave below by the second violins, and finally by the second
27. Ibid.
28. Ibid.
222
bassoon. A sustained first inversion D major triad with
added sixth prevails during this presentation. The bassoons
and English horn (m. 35-^0) revert to the transitional
material as a sustained whole tone chord on C (CGÂ^B^) is
set up in measure 48. This chord serves as a tonal center
(m. 41-52) for the more elaborate treatment of the transi
tional material in the solo cello, a passage that provides
a long, preliminary flourish leading to the first theme.
The tonality reverts to D minor as the solo
instrument (m. 67) commences the second exposition beginning
with an exact statement of the first theme. The clarinets
again supply an ostinato-like figure over a dominant pedal
in the second horn, which is changed to a mediant pedal
during the consequent phrase (m. 71-7*0. 4 fourth-chord on
E (EADG), by its many repetitions, serves as the tonal
center (m. 75-9 0 ) as the solo cello presents several trans
formations of the first theme. This section is marked by
imitative treatment of the transitional material in the
woodwinds leading to the return of D minor at measure 99-
From measures 104 to 111 the solo cello, playing double
stops in thirds and sixths, spins out a motive derived from
the head of the transitional phrase, thus leading to the
repetition of the second theme played by the violins in
223
octaves; this statement is at first almost identical with
that which appeared in measures 19-23, even remaining at
first in the tonic key, but soon moving off to C minor
(m. 122) as the solo instrument transforms the material.
The winds and strings (m. 125-138) supply a rhythmic back
ground based on the transitional material and Motive 1_. A
sustained C pedal in the cellos under descending harmonic
thirds in half-steps in the clarinets (m. 144-152), while the
solo carries out a sequential pattern still based on the
second theme, leads to a closing theme (in. 156-165) played
by the cello alone:
29
Ex. Ill
Soto C e ll*
i
The interval of a major sixth (C-A), which acts as the
cadence chord, leads to Motive 1_ and the beginning of the
development section at measure 166.
The development section (m. 166-261) divides itself
29. Ibid.
224
into four parts culminating in an extended cadenza by the
solo cello. Except in Part 1, the tonal centers are generally
stable. In addition to the common triads, extensive use is
made of seventh chords and an occasional ninth. The first
section of Part 1 (m. 166-183) begins with Motive 1 on P
sharp and leads directly to the development of the first
theme beginning in B minor; the second section (m. 184-195 )>
which functions as a bridge passage, is based on a figure
present in the transitional phrase (see Example 109, measure
2). It leads to the key of E flat (m. 192) and to Motive 1_,
which begins Part 2.
Part 2 (ra. 195-223), includes material from the
first theme, transitional phrase, and the closing theme
(see Example 111). The tonality of E flat begins to dis
solve at measure 210, and a sustained G major triad (m. 220-
228), which is stressed by the solo cello and accented G
major triads in the violas, suggests a dominant prolongation
in C. The triad is resolved, however, down a third to E as
Part 3 begins at measure 224.
The meter changes from 2/4 to 6/8 as the clarinets
introduce Motive 1 on E under an inverted pedal on E in the
first violins. Part 3 (m. 224-245), is based almost entirely
on Motive 1 and a new melody, which is somewhat reminiscent
225
of the second theme:
30
Ex. 112
The tonality of E is replaced by F sharp at measure 237, this
new center being retained throughout Part 4 as well as the
extended cadenza passage.
Part 4 (m. 246-261) deals mainly with the second
theme, whose antecedent phrase is stated by the solo cello
against the consequent phrase in the violins; it ends with
a sustained chord outlining a perfect fifth on P sharp with
an added G sharp.
The cadenza that follows provides an excellent
opportunity for the soloist to display both his technical
and lyrical artistry. It includes, in one form or another,
all the material that has been presented thus far. The in
terval of a minor sixth (A^-F^) that ends this passage is
immediately followed by the recapitulation of the first
30. Ibid.
226
theme by the oboe (m, 262).
While the first theme is restated in full, the
transitional phrase and second theme appear only in
abbreviated form in the recapitulation (m. 262-317). The
following diagram summarizes this section and the coda:
Recapitulation Coda
m. 262-318 m. 319-367
D minor
Orchestra: 1st theme Based on 1st theme,
in oboe, with orna transitional
mented dominant material and Motive
pedal in strings 1. Ends with
and ostinato in Motive 1 on the
clarinets; Solo dominant note (A)
cello: 1st theme in the full
(m. 277-289). orchestra.
Fragments of transi
tional phrase and
second theme (m. 289-
304). Bridge pass
age (m. 305-316)
similar to that used
in development
section (m. 184-191).
A lyrical melody in a siciliano-like rhythm is the
basis of the short but expressive slow movement (see Example
113). The muted cellos and basses along with the two flutes
outline the tonic triad of C sharp minor in measure 1. The
solo cello enters with the lyrical theme as the clarinets
begin a descending scale pattern based on the pure form of
the C sharp minor scale. The cello entry is imitated in
227
canon by the oboe in measure 3.
31
Ex. 113
---- -
'IN
ff / I
! % =
f etr
The theme is transferred to the lower strings against a
counter-melody in the upper ones at measure 1 9 :
,32
Ex. 114
Vl$. ton Jovd.
El t:
' wip v*oTo esfc
VU.+ V<.m
31. Ibid.
32. Ibid.
228
This theme and its counter-melody are used
throughout the movement, which, rather than falling into any
kind of clear tripartite division, unfolds in the form of an
arch: after a tranquil beginning, it rises to a high point at
measure 48, returning to the original mood in the closing
section (m. 55-62).
Besides common triads, extensive use is made of
various types of seventh-chords - frequently the major seventh,
major-minor seventh, minor seventh, and to a lesser extent,
the diminished seventh. Quartal harmony, which is not other
wise particularly significant in this movement, appears in
the trumpets in measures 42 and 43. Although the chords
present no specific problem of identification, the lack of
the stronger root movement by fifths often results in an
ambiguity of key center within a given phrase.
While there are frequent changes in the meter
signatures, eight-eight time is most commonly used. It
divides itself into the following patterns: 3+3+2, 3+2+3*
and 2+3+3. The passage from measure 15 to 19 is particularly
interesting, as the oboe and solo cello present the different
divisions of these basic patterns at the same time.
The key center changes to F sharp minor at measure
23 as the oboe freely imitates the solo cello at the fifth
229
below. The siciliano-like rhythm and melodic stressing of
the interval of a third that make up the principal theme are
continued by the violin and clarinet in measure 36, leading
to the fermata chord on P sharp minor with an added G sharp
and D sharp (m. 39). A short solo passage in the cello,
based essentially on a series of fourths, leads back to the
key of C sharp minor (m. 40).
As the final ascent to the climactic point of the
movement begins (m. 44), the meter changes momentarily to
5/8. A diminished seventh chord is outlined in measure 47

b
(FA BD) leading to the key of B minor at the height of the
arch at measure 48. The dynamic level is forte as the upper
strings present the counter-melody against the principal
theme in the lower strings. As the tension subsides, a
gradual return to the key of C sharp minor begins. It is
difficult to ascertain the exact point where the shift in
tonality occurs, but possibly the original key is entered
through the submediant triad at measure 52, where, as the
strings sustain the note A, the English horn presents a
fragment of the principal theme.
The tonic triad of C sharp minor prevails from
measure 55 to the end of the movement. A rhythmic C sharp
pedal (m. 60-62) is combined with a sustained C sharp pedal
230
in the solo cello and violas as the lower-strings bring the
movement to a quiet close.
The third and final movement, Molto allegro e_
appassionato, is in sonata-allegro form. Like the first
movement, it begins with a presentation by the upper winds
and strings of an angular figure that opens with a ninth and
quickly contracts:
33
Ex. 115
Repeated minor and major seconds sounding in the low flutes
and a harmonic ostinato-like pattern in the cellos and
timpani supply a rhythmic background to the principal theme
that follows in the solo cello in measure 6 (see Example 116).
This theme, which is partly derived from the introductory
passage, shows a marked relationship to the principal melodic
material of both the first and second movements.
33. Ibid.
231
34
Ex. 116
a . t e m p o c )? l3 2
J=J
ffl
& T
yj-iazk
_ '4-^r
n
t
f e J j U tJ j
In the first three measures (see Example 116, m. 1-3) the
head motive is based on the contraction of the interval of a
ninth to a second by octave displacement. The emphasis on the
interval of a third and the chordal outline of a minor
seventh in measure 6, particularly, draw attention to the
close thematic unity with the first movement (see Example
108, measures 4 and 5) and of the second movement (see
Example 113). The material that appears under the second
bracket in the above example is derived from the introductory
passage.
The over-all key of the finale is A minor with a
decided emphasis on the submediant triad, F major. The
chordal structures are somewhat more complex than those of
the previous movements because of the more frequent use of
34. Ibid,
232
the intervals of a ninth and second. A prominent
characteristic of this movement is the extended use of
ostinato figures. The second theme area, where a chaconne-
like bass is repeated eleven times, is particularly note
worthy in this respect.
The solo cello begins a second statement of the
theme (m. 21) that is completed by the orchestra (m. 27-34),
which then deals with the first half of the theme over a
rhythmic ostinato figure in the second violins, stressing
the tonic and subdominant areas of A minor (m. 34-42). Anti-
phonal treatment of the head of the theme between the
orchestra and solo cello (m. 42-60) leads to the transitional
section in measure 6 3 .
The transitional section (m. 63-107) consists of
fragments of the principal theme treated by both the solo
instrument and the orchestra. The tonality of P is retained
up to measure 71, shifting then to G from measure 71 to 79.
From this point to the grand pause in measure 108 the tonal
centers remain uncertain. The head motive of the principal
theme played by the full orchestra brings this part of the
movement to a close on the note B flat; a grand pause
follows immediately in measure 108.
233
The second theme, which is introduced by the solo
cello after the grand pause, is presented over a chaconne-
like bass that is repeated eleven times during the course of
this section:
35
Ex. 117
SaloCell* .
f j, t d i z ^ rr.sk - Jbd j
r ~ r
etc
if r
In the fourth and ninth repetitions, the first note of the
repeated bass pattern is changed to G flat.
The tonal center throughout this area (m. 109 c.
168) is G. Although the Aeolian mode is the most prominent,
the Phrygian and major modes on G are also used. There are
two complete statements of the second theme, the first by the
solo instrument, the second shared by the solo cello, horns,
and trumpets. At measure 159 the full orchestra begins an
incomplete presentation of the theme ending on a fermata
35. Ibid.
234
chord in measure 164, after which the solo cello plays a
cadenza-like passage leading to the development section at
measure 1 7 1 .
In the development section (m. 171-276), which is
entirely based on the principal theme, the technical capac
ities of the cello are further exploited. It divides itself
into three general areas, of which the first (m. 171-221)
begins in B minor with some emphasis on the submediant area.
After fragmentary statements of the theme in the woodwinds
and brass, the solo cello plays a rapid eighth-note pattern
culminating in triple stops on the notes C, G, and D. This
chord C serves as the tonal center as the first trumpet be
gins an abbreviated statement of the theme (m. 187-191).
From measure 194 to 206, the intervals of a major second

.b b m .
(G A , F G, and E Tr) serve to orient the harmonyas
the solo cello emphasizes the descending minor second thatis
associated with the head of the theme. This is followed by
a dominant prolongation in the key of A (m. 209-212), in
which the horn and solo cello stress the interval of a
diminished tenth (B flat down to G sharp) under a sustained
pedal on E in the violins. In its more simple forms, this
interval is a diminished third or an augmented sixth. It is
treated here as a diminished third, resolving to the note A
(A major) at measure 213, a relationship similar to that used
235
at the close of the first movement see m. 362. The key of
A major is quickly dissolved, and from measure 215 to 231 the
tonal center Is uncertain.
The second part of the development section (m. 222-
237)* which is based primarily on the second half of the
theme (see Example 116, m. 14-18), employs canonic imitation
in stretto. The key of C major is reached at measure 231
where there is an effective antiphonal contrast between the
orchestra and the solo cello.
In the last moto-perpetuo-like part of the develop
ment section (m. 237-276), the soloist is again given an
opportunity to display his technical prowess. The strings
and winds provide mere rhythmic punctuation to the moving
eight-note patterns in the solo instrument. It is un
necessary to discuss in detail the thematic material that is
used in the solo part, since its derivation is usually quite
clear; however, because of the transitional nature of this
part the tonal centers are less obvious. The significant
root movement of chords is from B flat (m. 238-240) to C (m. 241
244), moving then to A at measure 245, and to D from measures
253-260. A kind of enharmonic dominant prolongation follows
at measure 269 as the flute and clarinet add an ostinato
pattern to the solo part. The tone A flat that appears in
236
both the flute and cello parts is enharmonically G sharp,
the leading tone of A minor; the E flat in the flute part
is enharmonically D sharp, the altered fourth scale degree
of A minor, which provides a leading tone to the dominant
scale degree. The chord outline in this passage may be
considered as an incomplete, altered dominant seventh of A
minor (EG^BD^), or as an altered leading tone triad (G^BD^).
The key of A minoris anticipated momentarily in measures
273 and 275being firmly restored at measure 277 as the
principal theme is restated.
Although the recapitulation section is somewhat
abbreviated, it follows a regular scheme. It is summarized
in the following diagram:
Recapitulation
Principal theme Second theme

m. 277-292 m. 293-338
A minor P > A minor
Exact restatement of theme With the exception
by the orchestra (m. 277- of the key centers
291). Solo cello is not and minor changes
used. in orchestration
this section is
identical with the
original second
theme area
(m. 109-164).
237
The coda (m. 339-412), although based on both the
principal and subordinate themes, places particular emphasis
on the he-"'- of the subordinate theme. It begins in the solo
cello with cadenza-like passage made up of triplet figures.
While this solo passage is somewhat suggestive of the
principal theme, the reference is uncertain. Following the
continuation of the triplet pattern in the flute and clarinet
(m. 363-366), the oboe introduces a fragment of the second
theme in diminution (m. 372) stressing the tonic of A minor:
Ex. 11836
Obee fete
nn ~pi Fp 11d V i a 1 f f l l 1- - - 1h r
S JkJ W!J ---- 4

wj

' 3
=A
This pattern serves as an ostinato against the triplet
figuration in the solo cello and the low woodwinds (m. 373-
382). A dramatic clirax is achieved at measure 397 as the
eighth-note chord (whole tone chord) in the full orchestra
gives way to the sustained tone A in the solo cello. The
cello alone, again stressing the second theme fragment, leads
to the closing section of the coda (m. 400) where the upper
winds and strings present an almost literal statement of the
3 6 . Ibid.
238
angular introductory motive in diminution. The movement
comes to a close on the note A in measure 412.
Although there is no direct transfer of material
from one movement to another, the marked relationship of the
principal thematic material serves to unify the concerto.
This relationship stems from the stress that 1s placed on the
interval of a third and the chordal outline of a minor
seventh. The principal theme of the first movement emphasizes
the ascending and descending interval of a third and the
minor seventh chord outline (see Example 108, m. 3, 5-11).
The poetic song in a Siciliano-like .rhythm that serves as
the principal melody of the second movement is based primarily
on the interval of a third and the minor seventh chord on C
sharp (see Example 113). While the interval of a third and
the chordal outline are perhaps of secondary importance in
the principal theme of the finale, they nevertheless con
stitute a part of this theme.
The technique of deriving a theme through the ex
pansion or contraction of an interval (the head of the
principal theme of the finale is based on the contraction of
the interval of a ninth) was used in the Second Symphony
(principal theme of the first movement), which was written
one year before this concerto.
239
The emphasis placed upon the submediant triad and
tonic with added sixth, which is particularly evident in the
first and third movements of this work, again show the
composer's prediliction for amalgamating two chords or sub
stituting one for the other.
Samuel Barber received an award for the Violon
cello Concerto in June of 1946. It was- publicly announced
in an article in the New York Times, which appeared on June
28, 1946. A short quotation from this article will conclude
the discussion of this work:
The 5th annual award of the Music Critic's Circle

of New York for the work of an American Composer,
considered exceptional among the orchestral com
positions performed for the first time in this
city during the season was won by Samuel Barber
for a concerto for Violoncello and Orchestra,
Op. 22, it was announced Wednesday by Miles
Kastendieck, president. 37
37. "Barber Concerto Gets Critics' Prize," New York Times

(June 28, 1946).
240
Chapter VI
THE SYMPHONIES
First Symphony, Opus
After having won both the Pulitzer Prize and the
Prix de Rome in May 1 9 3 5 Barber sailed for Italy and

p
settled in the American Academy of Rome. It was here in
1936 that he wrote several songs, including "The Rain Has
Fallen" and "Sleep Now," and completed his first symphony.
For the latter work he again received the Pulitzer Prize
(April 1936), thus becoming the first composer so honored
two years in succession.3
According to the information in the score, this
symphony was first performed by the Augusteo Orchestra in

4
Rome (Adriano Theatre), December 13, 1936. It is interest
ing to read several comments about this performance that
appeared in the New York Times on the following day. The
1. "Samuel Barber Wins Two Awards," Musical Opinion (May 25,

1935), 27.

1954), 30.
3. Ibid., 32.
4. "Barber Symphony Approved in Rome," New York Times

(December 14, 1936).
241
critics felt that the work recalled the techniques of the
m o d e m German school, particularly those of Hindemith; they
expressed the view that the composer's harmonic and orchestral
resources were such that they atoned for a "not too happy"
contrast of brass and strings; and, finally, they believed
that the success of the work was due to its well-defined
theme, which was "robustly developed in a classical form."
While the symphony was warmly received by the Italian
audience, it was not an unalloyed success one elderly
person is said to have remarked loudly as she left the

c
theatre, "that young man should have been strangled at birth.1"
In the year 1937 Barber became the recipient of
another coveted honor when Arthur Rodzinski, who at that
time was the conductor of the Cleveland Orchestra, disclosed
in an article in the New York Times that he would include
Barber's "Symphony in One Movement" in his repertory for the

7
Salzburg Festival that summer.1 The performance of this work
in July, 1937 marked the first time that an American's music
5. Ibid.
6. Madeleine Goss, Modern Music Makers (New York: E.P.

Dutton & Co., Inc., 1952), 397^
7. "Salzburg Will Hear American Symphony," New York Times

(May 2, 1937).
^ 242
o
had ever been played at this festival.
The first American performance of this work, as
indicated in the score, was given by the Cleveland Orchestra,
Arthur Rodzinski conducting, on January 22, 1937, in
Cleveland, Ohio. The first New York performance was given
in an afternoon concert at Carnegie Hall on March 25, 1937,
with Arthur Rodzinski conducting the New York Philharmonic

9
Symphony Orchestra; the piece was warmly applauded and the
critics, too, were receptive. Olin Downes stated that while
the symphony was thematically rather dry, the "Gifted young
musician of twenty-six was seeking and gradually discovering
means of self-expression.
About 1942 the composer made several revisions of
the original score, the scherzo section particularly being

11
almost entirely rewritten. The revised version of this
work will, of course, be used in the formal analysis that
follows.
8. Broder, 3 3 .
9. "Work by Samuel Barber Played by Philharmonic Symphony

Orchestra, Premiere here of his 'Symphony in One
Movement, New York Herald Tribune (March 26, 1937).
10. Olin Downes, New York Times (March 26, 1937).
11. Broder, 80.
243
Although termed a symphony In one movement, it is
actually divided into four clear-cut parts corresponding to
the movements of the classical pattern. The entire work is
constructed from three subjects that are introduced in the
exposition. The second part of the symphony (Scherzo) is
based upon the principal subject; tne third part (Andante
tranquillo) is derived from an augmentation of the second
subject and fragments of the first; the fourth part (Finale)
is a passacaglia, whose theme is based upon the principal
subject. The chief unifying feature is, obviously, this
close thematic correlation between all parts; no melodic or
thematic material can be found that does not bear a dis
cernible relationship to the three subjects alluded to
above.
The opening section, an Allegro ma non troppo
(m. 1-137)* begins with a chord based on the notes E, F
sharp, and B that establishes the tonality of E minor. The
principal subject (A) that is introduced by the winds and
strings in measure 2 is composed of three distinct figures,
which are used both together and separately as the symphony
progresses:
244
Ex. 11912
This material, which is repeated and developed until measure
20, gives way to a bridge passage (in. 20-28) that modulates
to P sharp minor.
The lyrical second subject (B, m. 28-42) is stated
by the English horn and viola in the new tonal center of P
sharp minor:
13
Ex. 120
In the closing measures of this section (nr. 36-42) strong

2
reference is made to the a fragment of the first subject
(see Example 119, measure 2).
13. Ibid.
245
The viola and clarinets begin a transitional
section (m. 43-60) with an ascending sixteenth-note pattern,
which is later taken over by the upper strings (m. 49-57) and
treated in imitation. As the strings and the oboe begin short

1 2
motives based on the a and a fragments of the principal
subject (m. 58-60), the flutes, piccolo, and clarinets take
up the imitative scale treatment.
The third subject (m. 61-76), which has the
character of a closing theme, is centered in B minor with a
strong emphasis on the submediant area:
14
Ex. 121
fl)24>k
via. i* Jv*i
The instrumentation is reduced to a lone P sharp in the
double basses in the last measure of this section. This tone
slides down a half step to P natural in measure 77, the tonal
center for the beginning of the development section.
Although the symphony from this point on is a
14. Ibid.
246
development of the material already presented, the section
from measure 77 to 121 has the characteristics of a develop
ment in the traditional sense. While all three subjects
appear, the principal subject is treated more extensively
than the others. This section divides itself into two
general areas, of which the first (m. 77- 2-09) deals with
fragments of the subjects in imitation, diminution, mirror
ing, and combinations thereof. The tonal center on F is
retained from measure 77 to 96 with both the major and minor
modes on P being used. The tonal level moves up a half step
to G flat (m. 98-107), which gives way to the minor dominant
of C (m. 108) that leads to the tonic of C minor as the
second part of this section begins in measure 1 0 9 .
Fragments of the first subject appear in the
bassoons and brass over rhythmic ostinato patterns (which
are based on the first subject also) in the woodwinds and
strings throughout the second part (m. 109-121). The key of
C minor is kept until measure 118, the rest of the section
being in B flat minor. The tonic chord of B flat minor acts
as a pivot for the modulation to E flat major at the point
where the concluding section begins (m. 122).
There is no recapitulation in this part of the
symphony; instead, a transitional section serves both to
247
round out the first section and to lead to the Scherzo. A
modulation from E flat major to B flat major is made and
this part of the work comes to a close on the note B flat
(m. 137).
The Scherzo (m. 138-437) has the characteristics

1 1 2 2
of a sonata form (A B Development A B Coda). Although
the material that is used in the subordinate area (B) is
derived from the principal subject that begins the movement,
the changes in key and character are enough to make a
differentiation possible.
The first part of the exposition section (A1,
m. 138-179) is a small ternary form in itself. As the
kettledrum softly intones the note B flat, the first violins
alone introduce the a1 section, being later imitated by the
second violins at the minor tenth below (m. 142):
248
15
Ex. 122
r . A\W ?ro v *o lt* J.= i n
VWrR|g VjLmftw
etc 1
The melodic material in the b section (m. 156-168) is played
by the solo clarinet as the tonal center shifts to C flat
(Neapolitan area of B flat major):
Ex. 12316
The principal subject (a2, m. 168-1 78) is restated by the
oboe, imitated this time by the bassoon beginning in measure
173. A transitional passage (m. 179-192), whose material is
derived from the b part of the first section leads to the
key of F Dorian and the beginning of the subordinate area
15. Ibid.
16. Ibid.
249
(ra. 193-223). Here the melodic material is taken from the
b section (see Example 123); there is a shift to the dominant
key of F, along with increased instrumentation and modifica
tion of the accompanying figures. As the horns and woodwinds
restate the B melody in measure 209 the tonality shifts
temporarily to D flat, but in measure 224, where the develop
ment section begins, the key of F is restored.
The development section (m. 224-294) is limited to
fragments of the principal subject material. The tonal move
ment is as follows:
F ------- D m i n o r ------- } F
m. 224-255 m. 256-276 m. 277-294
A dominant prolongation in the key of B flat major is
apparent from measure 289 to 294, but it is deceptively re
solved to B minor as the recapitulation begins in measure
295- The tonal level of each part of the recapitulation
section is one-half step higher than that of the exposition.
2
The restatement of the principal subject (A ) omits
the a1 and b fragments of the original ternary form, being

2
represented by a single appearance of a in B minor. The
section may be summarized as follows:
250
2
A Transitional Passage B2
m. 295-304 m. 305-326 m 327-361
B^minor 1/2 step higher and W > D
a only more extended than Literal restate-
(seeExample 122). the original passage ment except for
(m. 179-192). keys.
The coda (m. 362-412) undertakes an expansive
treatment of the a^ motive of the principal subject in the
bass (see Example 119* measure 1). The principal subject of
the Scherzo returns in the Epilogue (m. 413-437) to bring the
movement to a close in C.
The third section, an Andante tranquillo (m. 438-
518), is a closed three-part form (A1BA2 ).1^ In the A1
section, the melodic material consists of an augmentation of
the second subject (B) of the symphony (see Example 120).
It Is heard as an extended oboe solo against a quiet string
accompaniment augmented by the harp. While the key of C
sharp minor predominates in the muted strings and harp, the
solo line in the oboe borrows freely from the parallel modes
on C sharp. Following a cadence on the tonic triad of C
sharp major (m. 465), the first cello plays a short linking
phrase that leads to the beginning of the B section at
measure 466.
17. Cedric Thrope Davie, Musical Structure and Design

(London: Dennis Dobson & Co., 1943), 35 .
251
The material of the short B part (m. 466-485) is

1 o
based on the a and aJ motives of the principal subject (see
Example 119). As in the previous section, the melodic and
harmonic materials show a free interchange of mode over a

18
single tonic. The G center at the outset of this section
gives way to A at measure 472, the remaining part (m. 477-
485) being centered around G flat.
2
The third section, A , is centered in C throughout.
It consists of a more extended expression of the second sub-

2
ject with reference to the a fragment of the principal sub
ject (m. 492-493, tuba) and also a1 (m. 504-505, trumpets).
It comes to a close in measure 518 on a C major triad.
The concluding section (m. 519-620) consists of
variations over thirteen statements of a vpassacaglia theme

1 2
that is based upon the a and a motives of the principal
subject followed by a coda, whose material is also based on
the same motives. After a short three-measure introduction,
which sustains the E minor triad, the passacaglia theme is
first played by the double basses and cellos.
18. John Vincent, The Diatonic Modes in M o d e m Music (New

York: Mills Music, Inc., 1951)* "Interchangeability
of Mode."
252
Ex. 124 19
Vc.4D.B.
itzAzz-z - z
pp espr.
The following diagram summarizes the section:
Passacaglia
Statement 1 Statements 2 Statement 7 Statement 8

through 6
m. 522-527 m. 528-557 m. 558-563 m. 564-569
(See Example Chorale treat More direct Reference to
124) ment of melody reference to a3 in bass
suggestive of and a . clarinet and
a1 motive. Strings. bassoon.
Winds and
Strings.
Statement 9 Statements 10- Statements 12-

11 13
m. 570-575 m. 576-587 m. 588-599
Reference to Increase in This is the climax
B subject in tension; al of this section; B
strings; a1 in trumpets. subject in strings
in brass. a1 in augmentation
in brass.
The coda (m. 600-620), which is composed of the a^
and a 2 motives, provides a brilliant conclusion to the
symphony. A dominant prolongation (m. 604-608) leads to the
19. Copyright 1943 , G. Schirmer.
253
tonic triad of E minor, which is emphasized thereafter to
the end.
It has been shown that the unifying feature of
this symphony is the thematic unity between its sections.
This compensates for the vagueness of tonality that is
characteristic of many parts of the work. The following
diagram shows the tonal movement from section to section:
Overall Tonality, E minor
Opening Section Scherzo Andante Passacaglia

Begins in E Begins in B tranquillo Begins in E
minor, ends in flat major, Begins in C minor, ends
B flat major. ends in C sharp major, in E minor.
major. ends in C
major.
Second Symphony, Opus 19
Samuel Barber was inducted into the Army on

20
September 4,- 1942, being assigned to a Special Service
division after the completion of his basic training. After
several months he was transferred to the Army Air Forces,
where his commanding officers permitted and encouraged him

21
to compose. Soon after he wrote the Commando March for
20. "Symphony Composer in Army," New York Herald Tribune

(September 4, 1942).
21. Broder, 36.
254
band (1943)* he was commissioned by the Air Forces to write
this symphony .22 He began the work while at the Army Air
Field at Fort Worth, Texas, after having been flown in
various types of planes to absorb the feeling and atmosphere
of his s u b j e c t . F o l l o w i n g its completion early in 1944
(the first symphony had been written ten years earlier), the
work was performed, as "Symphony Dedicated to the Army Air
Forces," by the Boston Symphony Orchestra, Sergei

24
Koussevitzky conducting, on March 3 of that year. The
title of the work as it appears in the published edition is
Second Symphony.
After revision of the original score in 1947, it
was recorded in 1951 by the New Symphony Orchestra of London

25
with the composer conducting (London LPS 334). Although
the full score is now available for purchase, the orchestral
parts may be obtained only on rental from the publishers.
22. Ibid.
23. "Air Forces Symphony Presented" New York Times (March 5,

1944).
24. Broder, 37.
25. Ibid., 102.
255
The symphony is in three movements scored for
large orchestra and piano. The first, Allegro ma non troppo,
is in sonata form. The interval of a second, which largely
contributes to the pervasive dissonance of the entire work,
is a conspicuous mark of the short three-measure introduction:
26
Ex. 125
Js31 * Piano
This is followed by the principal theme, in which the
pattern as it appears above is worked out horizontally. The
antecedent phrase:
^27
Ex. 126
the consequent phrase:
27. Ibid.
256
28
Ex. 127.
The chord outlines emphasize the intervals of a
ninth, seventh, and fourth. While it is possible to determine
the root of each chord throughout the principal thematic area
(m. 3-29 ), and the key of P sharp is hinted at, no definite
tonic is ever established. Following two statements of the
theme, the second of which is somewhat modified and extended,
the first section comes to a close on a major-minor seventh
chord on C (m. 28).
The long transition section (m. 29-100) divides
itself into two general areas. The first (m. 29-56) is
centered in D minor and includes an ostinato figure:
28. Ibid.
257
Ex. 12829
A g ita to
Vt&.JWc.,0-8v ru in tvu
J
i f U
over which Transition Motive 1 is heard in the clarinets and
bassoons (m. 30-31 ):
30
Ex. 129
Ct.,Bsi ei.,8unj.
V- :i.-
r- V i 4 --
This motive, which is extended in subsequent appearances,
and the ostinato figuration (m. 33-37> 41-48), constitute
the material of the first part. The second part (m. 57-
100) is centered around P. While the ostinato from part 1
is still referred to in this section, the main interest is
centered on a new motive, Transition Motive 2, which has
29. Ibid.
30. Ibid.
258
rhythmic ties with Transition Motive 1:
31
Ex. 130
SeXarta-wJo
The repetition of Transition Motive 2 in the strings
(m. 78-84) brings about a nervous driving climax to this
entire section. The tension decreases from measures 92 to
100, as the piano and bassoon present imitative entries
based on Transition Motive 2 followed by the ostinato
figuration of part 1 in the second violins (m. 97-100).
The tonal center reverts to D (both the major and
minor mode on D are used) as the long second theme, first
played by the oboe, is introduced in measure 101:
31. Ibid.
259
32
Ex. 131
Sv*prt a tfcwipot m Tr**âiUi
CK,
Trart*iTie*\ S'-t'lO'i
The head of the second theme is based on a chordal outline
with the repeated pattern in the strings showing a marked
relation to the ostinato figuration that was used in the
transitional section. Following the completion of the
theme by the solo oboe (m. 109), the first violins present
the antecedent phrase, being imitated in turn by the English
horn and tuba. The final abbreviated appearance of the
second theme in the cellos (m. 129-139) leads to the be
ginning of the closing theme area at measure 140, which is

2
a section based on the A fragment of the consequent phrase
of the principal subject (see Example 127* measure 2). This
leads to the closing theme proper in measure 176, still in
the key of D:
32. Ibid.
260
Ex. 13233
J.=fco
The exposition is brought to a close with the head motive of
the principal theme (see Example 126, A^) leading to a B major
triad in measure 2 1 9 .
The first part of the development section (m. 220-
280) deals with the principal and subordinate thematic
material, while the interval of the second is presented in
the upper winds and piano. From measures 28l to 333 the
2
emphasis is placed on the A fragment of the principal theme
(see Example 127), the ostinato figuration of the transitional
section, and Transition Motive 2. In the concluding part
(m. 3^0-360), the introductory seconds begin to pile up in
the winds, brass, and piano, and, as the tension mounts to

p
a high peak (m. 357)> the trumpets cut through with the A
fragment leading to the recapitulation at measure 361.
The tonal centers in this section are short-lived,
and, indeed, often made obscure by the marked emphasis on the
33. Ibid.
261
interval of a second, its inversion the seventh, and its
expansion the ninth. The important tonal movement appears
to be as follows:
Tonal Centers on:
Introductory
Interval of
a 2nd,
B Eb ---> p# or c# + c -> E > JJpJr
m. 220 m. 253 m. 265-280 m. 281 m. 311 m. 357-360
The recapitulation section (m. 361-459) follows a
regular scheme, but omits the extended transition section of
the exposition, as may be seen from the following diagram:
Principal 2nd Theme Closing Area

Theme
A of P. Closing kd of P.
Theme Theme Theme
nu 361-378 m. 379-427 m. 427-443 m. 444-454 m. 454-459
Restated Restated by Restated by Restated by Limited to
by the the cellos the strings; the just the
violins with A2 somewhat woodwinds A2 frag
and fragment modified and brass ment.
violas. of principal and (m. 444- Strings
Tonality theme in condensed. 447), re and
is not upper strings, inforced wood
defined; Centered in by the winds .
indefinite F#. strings
F#? (m. 448-451).
Extended re
statement .
4t
Centered in F" throughout
262
Stretto entrances of the head of the principal theme
throughout the entire orchestra mark the beginning of the coda
at measure 460, which deals with parts of the antecedent phrase
of the principal theme, the rhythmic ostinato from the transi
tion section (see Example 128), and, in the closing measures,
the introductory material. The tonal center of F sharp is
clearly defined by a sustained P sharp pedal and the emphasis
that is placed on the tone F sharp in the ostinato passages.
The movement comes to a close on the dominant tone C sharp
held in the first and second violins.
The second movement, Andante un poco mosso, is a

1 2
three-part form (A BA ) whose material falls naturally into
a 5/4 meter. The ostinato principal is utilized throughout
the movement by the constant repetition of the introductory
material, which begins in the muted, divided, low solo strings
and piano, establishing the dark, eerie mood that predominates:
263
34
Ex. 133
Avi<Ja.ntt , \A Y i poc.0 mosjo

Vc.,0.6.(cn pia.
T
The over-all tonality of this movement is A minor. While
some fourth chords are used, the minor triad and minor
seventh chords are of particularly frequent occurrence;
however, the major seventh chord is also used, along with
occasional ninths and elevenths.
The expansive main theme (m. 8-21) of which a part
appears in Example 134, is started by the English horn.
Ex. 13435
)
8J c.

wiolto u e r ,
34. Ibid.
35. Ibid.
264
It closes in measure 21 on the tonic triad of A minor, being
followed by a phrase extension (m. 21-24) ending in the sub
dominant area. As the strings take up the ostinato figuration
in measure 26, the tonal center begins to shift toward E
minor. In measure 28 th.^ "horn enters with another statement
of the main theme in the key of E minor, the last phrase of
the melody (m. 37-40) being taken over by the trombone. The
passage from measure 40 to 49 serves as a transition to the
short B part in measure 50, where the material of the intro
duction is intensified (m. 50-61). The tonal center is E
flat minor with the submediant triad or seventh (CÊ^G^B13)
frequently substituting for the tonic. The interval of a
second is again emphasized by the trombones in the closing
measures (m. 60-62). The key of A minor is restored as the

p
A section begins (m. 62-84) with the E flat clarinet
rhythmically intoning the note A.^^
Unlike A1, this section does not depart from the
key of A minor. The restatement of the main melody appears
36. Broder, 8l. In the original version of this movement the

score called for a specially constructed electronic in
strument to provide the rhythmic call of a radio beam,
keeping the navigator on course.
265
in the strings, except for the last phrase, which is played
by the tuba, whlle the woodwinds and brass continue the
introductory ostinato pattern. The movement closes on the
note A in the low strings and trumpets.
A vivid but terse account of the finale of the
symphony is given by Henri-Louis De La Grange in Contrepoints.
He states that it is introduced in the form of a toccata, in
which the phrases mount like spirals, and, further, that in
spite of its violent character and expansiveness, its'solid

57
architecture is in the strict form of theme and variation.
The entire movement, one of Barber's longest (528
measures), is constructed on two motives:
31. Henri-Louis De La Grange, "D1Amerique, Un Compositeur

Americain Independant: Samuel Barber," Contrepoints,
No. 4 (Mai - Juin 1946), 65-6 6 .
266
38
Ex. 135 Motive A
P r*jto ;
VIwt Via
i
f detach
39
Ex. 136 Motive B
JJJ concert pi+cU) n oct&vti

I
r i "> ' r I S&i \
and a theme:
38. Copyright 1950, by G. Schirmer.
39. Ibid.
267
40
Ex. 137
U k T
$ < ix
Following the unison declamation of the spiralling Motive A
in the strings (note that the second half is an almost exact
mirror of the first), the horns introduce Motive B over a
fragment of it, which is bracketed in Example 135. Note that
Motive B shows a marked relationship to the ostinato pattern
that was used in the transition section of the first movement
(see Example 128, the double bass part). Canonic treatment of
Motive A in the strings with a part of Motive B appearing in
the bassoon and trombones establish the tonality of F sharp
and lead to the main body of the movement at measure 54.
This part of the Finale (m. 54-224) is a set of
seven melodically fixed variations on a theme (see Example
1 37) followed by a short transitional phrase leading to the
fugato section. The woodwinds and horns alternate anti-
phonally with the strings during the presentation of the
theme (m. 54-75). The tonal center of F sharp is retained
40. Ibid.
I
268
throughout this section. The following diagrams will provide
a synopsis of the variations.
Var. 1 Var. 2 Var. 3 Var. 4

m. 76-97 m. 98-119 m. 120-141 m. 142-163
Theme: Theme: Theme: Theme:
Piano, cellos Strings and Flutes, Strings
and double English horn. piccolo, and only.
bass. piano; clarinet,
trumpets, and
trombone share
theme (m. 132-
141).
Centered in F"^--------
SIGNIFICANT DETAILS
Staccato, Imitative Rhythmic treat Head of theme
pizzicato treatment of ment of theme. in violins,
treatment theme in Counter violas,
of theme. strings. melody based against
Sustained Staccato in on B Motive tail of theme
tones in woodwinds. (trumpet, in 2nd viola,
trumpets clarinet, oboe cellos and
and horns. and horn). double bass.
Transitional
Var. 5 Var. 6 Var. 7 Phrase
m. 164-180 m. 181-196 m. 197-216 m. 217-224
Theme: Theme: Theme: Made up of
Brass Freely alter Pizzicato in counter
Centered ed in viola, later melody of
in F . strings and in 2nd violins. variation 7 .
tympani. Centered Centered in
Centered around F .
around B
minor.
269
SIGNIFICANT DETAILS
Pyramiding of Tympani answer- Appearance Counter melody
theme in "brass. ing strings. of 2 new of variation 7
counter in woodwinds
melodies, and strings.
of which Accented
both eighth-notes
employ lead to
chromatic fugato at
patterns. measure 2 2 5 .
Elaboration
of above
pattern
with accent
on interval
of 2nd.
The fugato section (m. 225-321) is based on the
theme (see Example 137) and Motive A (see Example 135). Of
importance in this section is the combination of the theme
with Motive A, the latter stated as a canon at the octave:
_4l
Ex. 138
The A Motive itself is subjected to variation (m. 321-333),
41. Ibid.
270
replacing the theme temporarily. Following a fortissimo C
major chord (m. 333-337), a modified version of the A Motive
leads to a free recapitulation of some of the variations.
Although the orchestration is somewhat different, measures
345 to 352 are similar to the original theme presentation
(m. 54-62); measures 353 to 366 are comparable to variation
four (m. 142-163); measures 366 to 388 are similar to
variation one (m. 76-97 ); measures 389 to 392 suggest the
beginning of variation two (m. 98-101).
Canonic treatment of the tail of the theme (see
Example 137, measures 58 to 61) carried out by the full
orchestra (m. 393-406) leads to a fortissimo restatement of
Motive B in the horns (m. 419-428). As the instrumentation
thins out and the excitement subsides, the coda begins
quietly over an extended F sharp pedal (m. 437). It is made
up of Motive A combined with the theme, Motive B being
partially suggested by the cellos and double bass:
271
42
E x. 139
13 Tranauitto J=>
B Motive
The mood abruptly changes In the concluding part of the coda
(m. 488-528) with the return of the Allegro molto. Prom
measure 488 to 509> both Motives A and B (strings and wood
winds) are combined with the first part of the theme (brass,
tympani, and strings). A fragment of the theme, which begins
in the low brass and rises to a dramatic climax in the full
orchestra (m. 508-515), is followed by a last reference to
Motive B in the tympani and piano. The symphony ends on a
fortissimo P sharp chord, tne underlying tonality of the
entire work.
The angular melodies of this symphony, its pulsating
ostinati and the spiralling figure of its Finale, give it a
decided mechanistic power. In addition to being far larger in
42. Ibid.
272
scope than the First Symphony, it is consistently more
dissonant and the tonal centers are less clearly defined.
While the subject matter that was introduced in the exposi
tion section of the First Symphony was used throughout the
whole work, the only marked transfer of material here is to
be discerned in the close relationship of the ostinato
figuration of the first movement with that of Motive B of
the Finale.
That the shaping of the material was affected by
the war and the general atmosphere of Air Force camps and
airplanes, is not denied by the composer himself. He
does, however, frown upon the "aeronautical" interpretations
that commentators sometime dwell upon, and "wishes it to be
listened to as a purely abstract work.
43. Broder, 8l.
44. Ibid.
273
Chapter VII
THE MISCELLANEOUS ORCHESTRAL WORKS
Overture to The School for Scandal, Opus 5_
According to a "program note" in the orchestral
score the Overture to The School for Scandal, Opus 5* was
suggested by Richard Brinsley Sheridan's drama of the same
title. While the work reflects the rather comical, sardonic
atmosphere of the drama, no attempt seems to have been made
to portray any of Sheridan's characters.
Although Nathan Broder states that this work was

1
written in 1931* the note in the published score and other
sources indicate the year 1932. It was first performed by
the Philadelphia Orchestra, Alexander Smallens conducting, in

2
1933. In the same year, Samuel Barber received his second
3
B e a m s prize of $1,200 for this work.
Excepting, possibly, the Serenade for String
Quartet or String Orchestra, Opus 1, this Overture is the

1955)* 1 0 0 .
2. Ibid.
3. "Composer Wins Again," New York Times (April 12, 1933).
274
first orchestral work by Barber, being scored for a full body
of brass, percussion, woodwinds and strings. It is in regular
sonata-allegro form preceded by a short, strident introduction
and concluded by a coda in rapid fugato. The chords through
out the overture are mainly built in thirds; the major-minor
seventh, minor seventh, diminished-minor seventh, and
diminished seventh chords are used. The harmonic progressions
emphasize root movement by fifths and thirds. The over-all

A
tonality is D minor, but the major mode on D also plays an
Important rSle.
In the introductory measures, a spirited rhythmic
figure is presented by the upper woodwinds over a pol/chordal
background consisting of a D major triad in the strings
against an E flat minor triad in the trumpets. This figure
(see Example 140) appears again in transitional sections and
the closing measures of the coda.
Ex. 140^
' Alltjro molTo i uivice ffl
275
The harmonic tension is soon abated, giving way to
a D minor triad in measure 8. The unusually long principal
theme (see Example l4l) is introduced by the first violins
in measure 11, while the clarinet and viola provide a series
of descending pedal points that stress the minor dominant
and mediant triads of D minor;
Ex. l4l5
I Vln.1. ' > s G1 f- j * n_
it extends from measure 11 to measure 30. (Note that the
second violins imitate the first violins at the octave from

i
measure 25 to 27.) The section from measure 30 to 36 acts
as a linking passage that leads to another appearance of the
principal thematic material at measure 36, now abbreviated,
freely transformed, and marked by free imitative treatment
between the lower strings and winds along with an inverted
5. Ibid.
276
dominant pedal in the first violins and tympani. This leads
to a final, again modified, statement of the principal
thematic material by the strings, beginning in measure 46
as the horns and woodwinds provide a rhythmic tonic pedal.
The principal theme area is thereby brought to a close at
letter B, measure 62, on the tonic triad of D minor. The
cadence on the tonic triad, which actually occurs in measure
5 7 , is extended by repetition.
A transitional section leading to the subordinate
theme area extends from letter B (m. 62) to letter C, measure
85. It consists of a series of ascending and descending
scale patterns and arpeggiated figures, which lead, in
measure 80, to the rhythmic figure of the introduction. The
tonality of this transitional section is unstable from measure
62 to measure 7 8 . At measure 78 the dominant note of F major,
the key of the subordinate theme area, is reached and
prolonged to measure 8 5 .
The time signature changes to 3/4 as the second
theme is introduced by the oboe beginning with the anacrusus
to letter C, measure 8 5 . The medium-low register of the
oboe seems appropriate to this lyrical, smoothly flowing
theme, for which the strings supply a simple chordal back
ground :
277
Ex . 1426
(7
t p
This is a thirteen-measure sentence whose antecedent phrase
(m. 85-8 9 ) is followed by two responsive phrases (m. 90-93
and 9^-98). Note the chordal outlines that make up this
theme; many of Barber's songs and instrumental compositions
contain chordal melodies.
An abbreviated reappearance of the second theme
in the first violins comes to a close at letter D, measure
109, on a half-cadence on the dominant triad.
The clarinet presents the closing theme over
accompanying chords in the strings as the meter reverts to
9/8:
6. Ibid.
278
Ex. 1437
This passage, still in F major, comes to a close on a plagal
cadence in measure 119. After a two-measure linking passage
played by the solo flute over a rhythmic repetition of the
F major triad, the upper strings give a second, somewhat
modified statement of the closing theme, which leads to the
rhythmic, introductory figure (see Example 140) at measure
135 that concludes the closing theme area in measure 140.
The strings repeat the tonic triad of F major under
a pedal point on the notes C flat and E flat in the oboe and
trumpets (m. 140-142). This sustained pedal alone leads to
the beginning of the development section at letter E, measure
145. A subtle change of mode takes place, as the development
begins, when the pedal on C flat and E flat is replaced by a
tremelo on the notes B and D natural in the clarinet.
Extending from measure 145 to measure 179* the
development section deals only with material from the
7. Ibid.
279
principal thematic area. From measure 145 to measure 166
fragmentary references to the principal theme are shared by
the strings, woodwinds, and brass; next, a very free adapta
tion of a part of the principal theme is presented by the
bassoons, brass and tympani supported by a short rhythmic .
ostinato figuration in the woodwinds and strings (m. 170-175);
a concluding sixteenth-note ascending and descending pattern
(m. 175-179)t which achieves a dramatic climax, paves the
way for the recapitulation. While this section begins in
B minor, the tonic key of D minor is quickly restored in
measure 154. A dominant prolongation is maintained from
measure 159 to measure 180.
As the recapitulation section follows the usual
scheme, a diagram will suffice.
m. 180-194 m. 195-215 m. 216-239 m. 240-265

Recap: Prin. Recap: Trans. Recap: Sub Recap: Cl.
theme Sec. (Almost theme theme
D minor, literal) D major, D major,
strings. Material English Hr., Clarinets,
Tonic Pedal transposed Strings. Strings.
W.W. & Brass. down a 3rd.
Tonally un
stable, but
emphasizing
the subdominant
and submediant
areas of D
minor. A
dominant pro
longation in D
is evident from
measure 213 to
215.
280
The coda (m. 266 to the end of the movement)
centers on D major, consisting of a short, rhythmic fugato
based on a diminution of the principal theme culminating in
the rhythmic figure of the introduction at measure 319. The
final cadence actually occurs at measure 317, but is extended
to measure 324 by repetition of the tonic triad. Further
extension results when the tonic triad gives way to a
unison D in the full orchestra, which brings the overture to
a close in measure 326.
Music for a Scene from Shelley, Opus 7
In the preface to the printed score the composer
states
In the summer of 1933 I was reading Shelley's

Prometheus Unbound. The lines in Act II, Scene
5, where Shelley indicates music, suggested this
composition. It is really incidental music for
this particular scene, and has nothing at all to
do with the figure of Prometheus.
The passage follows:
281
Panthea (to Asia):

...nor is it I alone,
Thy sister, thy companion, thine own chosen one,
But the whole world which seeks thy sympathy.
Hearest thou not sounds i' the air which speak the love
Of all articulate beings? Feelest thou not
The inanimate winds enamoured of thee? Listl (Music.
Prometheus Unbound, Act II, Scene 5^
The music was written while Barber was living at Cadegliano
in the Swiss Alps, and although completed in 1933* it was
first performed on March 23* 1935 by the New York
Philharmonic-Symphony Orchestra with Werner Janssen conduct
ing. The composer attributed the Prix de Rome award which
he later received to the orchestra's performance of this
work.11 Olin Downes, in an article in the New York Times,
praised the composer's "poetical feeling and instinct for
form," but stated that the epilogue after the climax was too
drawn out and that the principal theme was not the most
distinctive.1^ A performance of this work by the Helsinki
Municipal Orchestra in 1939* Martti Similia conducting,
brought favorable comments from the Finnish critics. They
9. Ibid.
10. Broder, 24, 27.
11. Ibid., 29.
12. Olin Downes, "Janssen Presents New Native Music," New York
Times (March 25* 1937).
282
stated that the "work significantly weakened in Finland the
prejudice against American musical talent common throughout
Europe.n1^
While the score of this work can be bought, the
parts can be obtained only on rental from the publishers.
The only available recording at this time is issued by the
American Recording Society with Walter Hendl conducting, the
American Recording Society Orchestra (ARS-26).1^
The entire work is cast in a rounded AB scheme,
the material unfolding in the form of an arch. It begins in
B minor, pianissimo, with an introductory figure that is
treated in imitation by the muted and divided strings (see
Example 144). This pattern, although altered in subsequent
appearances, pervades most of the work.
13. New York Times (April 16, 1939).
14. American Recording Society, 100 Sixth Avenue, New York 13>
New York.
283
Ex. 14415
(Note that the violin and viola play, the figure in mirror
form in measures 3 and 4.)
The chords throughout are built in thirds. Besides
the common triads, various types of seventh chords and an
occasional ninth chord are used. The minor-major seventh
chord is, however, especially frequent. The theme of the A
section (m. 5-33) is stated by the muted horns beginning in
measure 5:
284
Ex. 14516
a J-slO . v
)W **v\ to ri. CtMucrt f *W;
i-8
Following a modified appearance in the trumpets (m. 12-14),
the introductory material, treated in imitation by the full
string body, rises to a crescendo and the theme is repeated
in the strings, forte (m. 22-2 5 ) then mf and tt_ in the horns
without mutes (m. 26-32). The dynamic and rhythmic intensity
of the strings increases and, to a slightly faster tempo,
they usher in the B theme, fortissimo, at measure 3^ (see
Example 146).
Although the B section (m. 3^-80) begins on an
F major triad, it is centered around D. The first entry of
the theme is accompanied by the introductory figuration played
by the trumpets over sustained chords in the trombones and
tuba.
1 6 . Ibid.
285
Ex. 1461?
/*:U1
m *
J h itfrjifffTtifr
# **r
1SL
sit
Prom measure 42 to measure 50,' the introductory material
itself becomes all-important. In addition to being incor
porated in the B theme in the violins, horn, and cellos, it
provides the basis for the ostinati in the woodwinds and
violas. Although the dynamic level is decreased to piano
following the trumpet entry (m. 51-54), the increase in
tempo and rhythmic activity are enough to maintain the
gradual rise in tension.
The final surge that leads to the peak of the arch
begins in measure 68 as the violins and cellos again take up
the B theme over the introductory figuration in the woodwinds
and horns. This is followed by a stretto imitation of the
first two measures of the theme, carried out by the strings
and woodwinds against the solo trumpet (m. 70-75). The
climax is reached in measure 80 over a dominant prolongation
in B minor. After a grand pause, the A theme is thundered
17. Ibid.
286
out by the full orchestra In the tonic key. A diminuendo
roll in the tympani, which serves to slacken the pace and
relax the tension, leads to another statement of the A theme
in the harp and muted strings. The music comes to a quiet
close with a sustained B major chord in the muted horns.
Essay for Orchestra, Opus 12
On November 5, 1938, the Essay for Orchestra was
given its premiere performance by Arturo Toscanini and the

"1ft
New York Philharmonic-Symphony Orchestra. It was the first
time that Toscanini had performed a work of an American
composer since he assumed leadership of the orchestra in
1 9 2 8 . This performance, which also included the Adagio for
Strings, provoked a rather heated discussion on the music of
Samuel Barber from coast to coast. Mr. Ashley Pettis, a
pianist, teacher, lecturer, and writer on music,20 was
undoubtedly responsible for the controversy that was carried
on in the newspapers for some time. He made the following
statements about this performance in an article which
18. New York Times (October 27, 1938).
19. Baker1s Biographical Dictionary of Musicians, 4th ed.

(New York: G. Schirmer, Inc., 1947)), 1105.
20. Ibid., 840.
287
appeared in the New York Times:
There are important American composers and

important American Compositions of every type
of thought and tendency. But from "at least
one listener's point of view" neither Mr.
Barber nor his works may be justly so termed.
One listened in vain for evidences of youthful
vigor, freshness or fire, for use,of a
contemporary idiom (which was characteristic
of every composer whose works have withstood
the vicissitudes of time). Mr. Barber was
"authentic," "dull," "serious," music utterly
anachronistic as the utterance of a young man
of 28, A.D. 1938.21
Verna Arvey, a Los Angeles writer, and Gian-Carlo Menotti,
the prominent contemporary composer writing in New York, were
quick to defend Samuel Barber's music as well as Toscanini's
decision to include it on his program. While an evaluation
of Barber's music was not agreed upon during this discussion,
it was concluded that more American music should be played,
allowing the public to decide for itself which composer
merited the greatest applause.
This work, as well as the Second Essay, Opus 17,
which was written in 1942,22 develops reflective ideas in
much the same way the literary form does. It is cast in a
rounded AB scheme; a main theme and a triadic motive are
21. Ashley Pettis, "Important American Music," New York Times

(November 13, 1938).
22. Broder, 101.
288
expounded briefly, then amplified, correlated, and brought to
their logical conclusion, after which an abbreviated restate
ment of the main theme and the triadic motive occurs.
The A section is sombre and intense. The main
theme is characterized by a figure consisting of the
ornamental resolution of the 9-8 suspension:
. 23
Ex. 147
_ A nilw t* ioitcnt&o 1
BU.*. * * * m
A ) J. m ---
til
A r
M
Vi. div.
m J8=
oa.div m m
r
m
The composer subtly creates an interplay between the uonic
and minor dominant triads of the key A minor; thus, at
the very outset, the double basses, divisi, begin with an
open fifth (A-E) over which the E minor triad is super
imposed. Note in measure 2 (see Example 147) the Neapolitan
chord of A minor. The harmonic progressions are largely
successions of common triads, the French augmented sixth
289
chord being structually important in the harmonic movement
of section A.
The main theme consists of a nine-measure sentence
divided into a four and a five measure phrase. The half-
cadence on the minor dominant, which is used at the end of
the antecedent and consequent phrases each time the main
theme appears, seems most fitting for the rather poetic,
melancholy mood of this section.
In measure 10 the violins begin a short consequent
phrase that leads to the second literal statement of the
main theme beginning in measure 1 5 . Note the French
augmented sixth chord in measure 14 (B^DEG^), which
intensifies the key of A minor. The horns state the
antecedent phrase of the main theme and the strings, conclude
the statement. In measure 24 another literal statement of
the short bridge passage (compare measures 10-15 with 24-29)
leads to an impassioned climax beginning in measure 2 9 :
290
Ex. 1482^
Poco *wi mjwJc
The horns and second trombone (m. 3 6 ) then present
a modified version of the antecedent phrase of the main theme
leading to the triadic motive stated in imitation by horns,
two trumpets, and trombone.
24. Ibid.
291
E x. 1 4 9 25
H nt.1,2 ptttU)
L is *
. 7 ^ to------------------------
tf:
5
TVjfcl,* f ,
j- f l "r r *
p .:
r cj f~*t3l1 r _
$*'<*
eV
a ----------
% w---------------- -
*
--------------------
,r-^
J m*r.
{(1 '
fc fe ***
y-faa
r - t o ...... .
[ f f f
p4
In the closing measures of section A (m. 5 0 ) the
trumpets and trombone begin a short motive based on the
familiar Interval of a third. The complete brass section,
reinforced by the piano, takes up this motive in measure 53,
after which the strings bring the A section to a quiet close
with a fragment of the main theme.
While the A section was predominantly grave in
character, section B (m. 61-286) moves very rapidly in a.
2 5 . Ibid.
T 292
scherzo style; also, while the medium and low tessitura of
the orchestra prevailed in the A section, the B section
exploits the higher regions consistently. It is in this
scherzo setting that Barber's skill as an orchestrator
appears to special advantage: it is scored with a great
variety of colors, including effective pizzicato passages,
while the piano is treated as an instrument of the orchestra,
reinforcing the winds and strings in a very effective manner.
The thematic material is derived for the most part
from the triadic motive of the A section. The imitative
treatment that marked the appearance of this motive in
section A is again notable as section B begins:
293
Ex. 15026
VU
PP 1e.-C
(Note that the encircled tones and the ascending figure in

the first violin outline the minor-major seventh chord on
C.)
While the B section begins in the key of E, the ever-changing
sequential patterns, which grow out of the triadic motive,
and the absence of definitive harmonic progressions often
create an ambiguity of tonal center. The chord structures,
as-in the A section, are largely triadic. It was pointed out
that the French augmented sixth chord was emphasized in the
harmony of section A; here in section B the minor-major
seventh chord (CEbGB) plays a leading role.
Although the thematic material from measure 6l to
26. Ibid.
294
141 is limited to the one motive, contrasts are achieved by
alternating the strings with woodwinds. The pizzicato
sections (note the passages from measure 86 to 93) also
provide color contrast. The significant tonal movement
from measure 6l to 141 is from E to B flat. Beginning with
the Introduction of the main theme of section A by the horn
and cellos against the triadic motive in the upper strings,
piano, and winds at measure 142, and extending to the end of
the first main part of section B at measure 192, B flat and
A flat minor act equally as tonal centers.
The second part of the B section is largely devoted
to ostinato figurations; while the muted second and fourth
horns sustain an E pedal, the piano, cellos, and double
basses begin a quarter-note rhythmic ostinato pattern, which,
extending from measure 192 to 204, is an ornamentation of the
E pedal. A second ostinato figure, actually an ornamentation
of the first, which is introduced by the clarinet in measure
195 and later reinforced by the flute and piano, points up the
note B. The following example will show the two ostinato
patterns:
295
E x. 1 5 1 27
The encircled tones in the clarinet part in the above example
point out the three most important notes in this pattern, the
notes C sharp and A sharp, which strengthen the note B. As
the tones E and B continue to be stressed, the first horn
(m. 200-210) and the trumpet (m. 213) entries recall the head
of the triadic motive.
Over a B pedal in the horns, tympani and double
bass (m. 220), the second ostinato figuration (see clarinet
part of Example 151) is elaborated by the woodwinds, piano
and strings. At the same time the violas and cellos give
the pattern in mirror-form. The horns, along with a rhythmic
eighth-note accompaniment in the first trumpet, provide
imitative entrances of the triadic motive beginning in
27. Ibid.
296
measure 230, after which the minor-major seventh chord on C
assumes the predominant role. Following the return to the
tonal center on E (m. 254-260), the muted trumpets present
imitative entrances of the triadic motive leading to a
sustained pedal (trumpets and horn) on the minor-major
seventh chord DFAC#, The pizzicato strings then continue
with a series of ascending and descending patterns based on
this chord.
As the horn and trumpets change to a sustained E
minor pedal (m. 278), the triadic motive, now in the tonic
key, is heard in the tympani, piano, and double basses
(m. 278-2 8 7 ). An abbreviated statement of the main theme
(m. 2 88) is followed by the triadic motive (m. 290) treated
in imitation by the muted trumpets over a sustained E-B
pedal in the piano, tympani, and strings. The triadic motive
appears in the muted trumpets (m. 290-297) with a change of
mode to E major. A fragment from the head of the main theme
beginning with the second violin in measure 296, brings the
movement to a close on the note E.
297
Second Essay for Orchestra, Opus 17
The Second Essay was completed In March 1942.
Written for the Centennial of the New York Philharmonic-
Symphonv Orchestra,29 it was played by this orchestra under
the direction of Bruno Walter on April 16, 1942.3 Jerome
Bohm made the following comments about this work after its
premiere performance:
Although the thirty-two year old American composer

has given no program for his latest product, I re
ceived a definite impression that it had its roots
in his reactions to the war. The thematic substance
is strong and somewhat austere and is developed re
sourcefully and economically. It builds up to a
cannily constructed climax and the orchestration is
masterly.31
The Essay, Opus 17, though longer and more complex
than the first, retains the qualities of succinctness and
unity of mood. The principal thematic material consists of a
main theme revolving about the tonic of P minor, a second,
subordinate theme, and a cadential motive. A writer (the
28. Broder, 101.
29. Madeleine Goss, Contemporary American Composers (New York:

E. P. Dutton Co., Inc., 1952), 399-400.
30. Jerome D. Bohm, "Bruno Walter Conducts New York

Philharmonic," New York Herald Tribune (April 17, 1942).
31. Ibid.
298
article is unsigned) in the Australian Musical News and
Musical Digest states that Samuel Barber "developed Two-Part
Orchestral Form" in this work.^2 Robert Horan, writing in
M o d e m Music, states that this essay is cast in a "subtle
two-part form. Rather than use vague descriptive
adjectives, which may or may not obscure the issue, the plan
will be identified as a two-part form with coda. The
"subtlety" of this formal design will be discussed as the
material is unfolded. The diagram that follows will show
how the thematic material is presented; the intermittent
line, which appears in Part II of the diagram, is used to
show that a return to the main theme in the tonic key is made
during the closing part of the fugal section.
Part I Part II Coda

m. 1-74 75-169 170-180 181-213
Ternary design Double An abbre A concluding
(aba2 ). a1 main fugue: Main viated re section based on
theme, F minor b- theme and turn of the cadential
sub. theme, A-E#; subordinate main theme motive and the
cadential motive theme; be in F minor main theme.
used to conclude gins in Ffr. in the Essay ends on an
sub. theme area. closing F major triad.
a2 main theme, part of the
fragments of sub. fugue.
theme, F minor.
32. "American Profile," Australian Musical News and Musical

Digest XXXIII (July 1947), 12.
33. Robert Horan, "American Composers," Modern Music XX

(March-April 1943), 1 6 5 .
299
The first section (a1) of the small ternary form
that makes up Part I begins with the flute announcing the
main theme over a sustained G flat pedal in the tuba and
a prolonged roll on the bass drum. As the key is F minor,
the G flat pedal (note the "ppp" dynamic- indication for the
tuba) again shows Barber's predilection for the lowered
second scale degree. The angular theme, which has a range
of a minor tenth (C-E ), revolves about the tonic note:
34
Ex. 152
_ Av,ciavie u poco vrtojio J

El FI
The chords throughout Part I are mostly triads,
the major seventh chord and the diminished-minor seventh
chord being also used. Aftervthe first statement of the
main theme in the tonic key,'fragments of the theme are
presented by the English horn (m. 8-12) and oboe (m. 13-15)
in the submediant area. Following the return of the tonic
triad on F at measure 15 (note the brief change of mode at
this point), the Neapolitan area is stressed from measure
300
18 to 23. The first section of Part I (m. 1-25) ends on an
implied A major triad. Along with the main thematic material,
several fragmentary forecasts of the coming fugue subject
have appeared in subordinate parts in this section: the
violas and cellos hint at the fugue subject in their
accompaniment to the main theme beginning in measure 8 ; a
fragment of the subject appears in the tympani beginning in
measure 1 5 ; at measure 18 the violins and cellos, providing
a rhythmic accompaniment to the main theme in the English
horn, bassoon, and violas, forecast the subject, and the
first trumpet and tympani again suggest the subject in the
last two measures of this section.
The secrad or b section of Part 1 begins when the
second theme, again angular in character, is introduced by
the violas in measure 26 (see Example 153). It will be
noticed that this theme also has a range of a minor ninth.
The repeated triplet figuration that appears in the woodwinds
while thi3 theme is being introduced is again suggestive of
the triplet rhythm of the fugue subject. The agitated feeling
301
Ex. 15335
Via. SniTVitm e
that prevails throughout most of this section is brought
about not only by the character of the second theme itself,
but also by the rapid triplet and sixteenth-note figurations
that are used to accompany it. The tonality quickly shifts
from A in measure 26 to E sharp minor; the tonal center from
measure 36 to 4l is on E flat, both minor and major; the
accompanying sixteenth note patterns in the winds and strings,
which emphasize perfect fourths and fifths, tend to obscure
the tonality from measure 46 to 52; from measure 52 to 6l the
tonal center hovers around P. The cadential motive is
introduced by the brass in measure 62 , and section two of
Part I comes to a close on an A major triad with added
second and sixth (m. 6 3 ):
35. Ibid.
302
Ex. 15436
The a2 section of Part I (m. 64-78) begins with the
lower strings and tympani, which are later reinforced by the
bassoons, playing a rhythmic ostinato-like figure consisting
of a diminution of the main theme. The main theme itself is
majestically introduced by the horns as the figuration
continues. Prom measure 69 to 75 the woodwinds provide
fragmentary entries based on the second theme. The main
part of a2 , which is centered in B flat, comes to a close
in measure 78 on an F sharp minor triad in the full
orchestra.
A decided increase in tempo as well as a marked
change in procedure herald the beginning of Part II. The
fugue subject is introduced by the clarinet beginning in P
36. Ibid.
303
sharp minor:
37
E x. 155
M0IT0 tlltfr
-u, \ *
The exposition of this double fugue extends from measure 79
to 114. There are nine entries of the main subject, the sub
ordinate theme, which serves as the second subject, being
introduced along with the main theme in the sixth entry
(m. 101). To expedite the discussion, a summary of the
exposition sections is given in the following diagram:
1st Entry 2nd Entry Codetta 1 3rd Entry 4th Entry

m. 79 -82 m. 82-84 m. 8 5-87 m. 88-91 m. 91-94
Main sub Real Imitative Subject in Oboe
ject intro answer in treatment English answers
duced by bassoon on of ascend horn on English
clarinet in A; clarinet ing four- E flat; horn a 6th
F sharp imitates note bassoon higher on
minor (see bassoon a figure and C; accom
Example dim. 5th (somewhat clarinet paniment
155). higher suggestive imitate figuration
(m. 8 3 ) of English based on
with sub cadential horn with Codetta 1.
ject motive subject
material. treated in material.
mirror form).
37. Ibid.
304
Codetta 2 5th Entry 6th Entry

in. 9 5 - 9 6 m. 97-99 m. 101-104
Imitative phrase ex Main sub
entries of tended to ject in
figure used m. 100. 1st violins
in Codetta Subject on on F sharp;
1. F in 2nd second sub
trumpet; ject in
1st trumpet piccolo and
imitates flute;
the 2nd at tonality of
the minor F sharp
3rd above; momentarily
short restored.
phrase ex
tension
leads to
6th entry.
7th Entry 8th Entry 9th Entry

m. 104-107 m. 108-111 m. 111-114
Main sub Main sub Main sub
ject in 2nd ject in ject in
violin violas on cellos and
on A; E flat; double bass
second sub second sub on C;
ject in ject in second sub
clarinet flutes and ject in
C minor? clarinets flutes,
on B flat; oboes,
C minor later
joined by
bassoon;
C minor.
The codetta material and the first subject are
developed from measure 111 to 133. As the strings and the
third and fourth horns sustain a C major triad, the clarinet
(m. 133) presents the subject in mirror form against an
augmentation of the subject in the first and second horns
(see Example 156). The flute follows in measure 138 with the
305
38
Ex. 156
Hiffcr
. s n ) m
^ -$
subject again in mirror against the augmentation of it in the
third horn; the sustained organ point in the strings is
shifted to a C sharp minor triad during this entry.
Beginning in measure 144 the second subject is
treated in augmentation by the strings as the winds and
tympani engage in a sort of antiphonal treatment of the fugue
subject. The tonal center from measure 144 to 151 hovers
around P sharp.
The fugue subject (m. 1 58) is presented by the
cellos and double basses against the main theme in the first
and second trombones as the key moves to E minor. While the
violins begin the fugue subject (m. l6l) and the horns take
over the main theme against it, an enharmonic submediant
prolongation in P minor is set up (C sharp = D flat).
The subtlety of the form that was alluded to
38. Ibid.
306
earlier in this discussion is manifested in the abbreviated
return of the main theme in the tonic key at measure 171 in
the concluding measures of Part II. As the triplet
figurations, the "embers of the fugal fire," die away in the
tympani and side-drum, Part II comes to a close. The key
throughout this closing passage (m. 171-181) is F minor.
A long, intense passage based primarily on the
augmentation of the cadential motive serves as a coda. As
the tension reaches its height the trumpets (m. 1 9 8 )

>
vociferously bring forth the main theme for the last time.
A subdominant prolongation is present in the concluding
measures (m. 207-212). This Essay, which began rather
quietly in F minor, ends with a solemn plagal cadence to
an F major triad.
Commando March
This March, which has no opus number, was written
in 19^3* the year that Barber was inducted into the A r m y . 39
After the first performance by an Air Force Band in that
year, it was recorded in 1953 "by the Eastman Wind Ensemble,
conducted by Frederick Fennell.^0
39 Broder, 3 6 .
40. Mercury MG4006, "American Concert Band Masterpieces."
307
It is written in three-part form with an intro
duction and coda. While the over-all key is E flat major,
the composer frequently substitutes the submediant harmony
for the tonic a procedure that has been observed several
times in other works. The chords are predominantly triads
with added seconds and sixths. Except in the B section,
where the augmented fourth root relation is stressed, root
movement by third and fifth prevails.
The triplet figures and other simple unit divisions
that are presented in the introduction (m. 1-11) form the
basis of much of the work:
Ex. 1572*1
The A1 section that follows is a small ternary form, the
first part (a1, m. 12-19) consisting of a regular eight-
measure sentence that is presented over rhythmic eighth-note
41. Copyright 1943* 1944, by G. Schirmer, Inc., New York.
308
chords in the oboes, horns, and basses:
Ex. 1582*2
o*.,Mn.
5 wt *
AtT, Batj C-b
I
el
!y l
In the b section (m. 19-33) the submediant and Neapolitan
areas of E flat major are stressed. While the euphonium solo
is an outgrowth of the a1 melody, it nevertheless provides a
little contrast.
42. Ibid.
309
Ex. 159^3
0 Pl,9b,cV
r $ i t i h
E<*pK.Sol
Xc
s
jrry h k =
f
m
The a2 section begins at letter D, measure 34, as the wood
winds restate the a1 melody. A transitional phrase (m. 43-
5 2), which is made up of the introductory triplet figures and
a fragment of the A melody, is played by the .brass leading to
the B section that begins with the anacrusis to measure 53.
The B section (m. 53-74) consists of a series of
sequential patterns, the triplet figures of which show a
marked relationship to those used in the introduction. A
comparison of Example 160 with Example 157, measures 3 2nd
4, will show the similarity. Note also the augmented fourth
root relation that is employed in section B.
43. Ibid.
310
Ex. l60^4
Beginning in E minor, it moves to D flat major (m. 63-74)
and finally to B minor (m. 63-74). A repetition of the
dominant tone of E flat major in the comets in measure 74
leads to the restoration of that key as the section
begins (m. 7 5 ).
The A^ section is abbreviated and ornamented by
scale passages and triplet figures in the woodwinds, and the
transitional phrase leading tc the small b section of the
ternary design is omitted. The short coda (m. 106-113)
consists of the introductory triplet figures over a tonic
pedal. After an ascending E flat major scale that begins
in the trombones and saxophones at measure 110, the March
comes to a close on the note E flat.
44. Ibid.
311
Ballet Suite Medea, Opus 23
Written in 1 94 6,^ 5 the Suite is based on the Greek
tragedy "Medea11 by Euripedes and falls into the category of
program music. The score was commissioned by the Alice M.
Ditson Fund of Columbia University for Martha Graham and was
first danced by her and her company at the MacMillan Theater
of Columbia University in May of 1946.^ Miss Graham
entitled her ballet "Serpent Heart" at first and later "Cave
of the Heart," but the composer has preferred to use the
original title of the drama for the suite for full orchestra. ^
On the jacket of the record and in the published
score Samuel Barber has contributed the following account of
the Ballet and of the Suite drawn from i t :
Neither Miss Graham nor the composer wished to use

the Medea-Jason legend literally in the ballet.
These mythical figures served rather to project
psychological states of jealousy and vengeance
which are timeless.
The choreography and music were conceived, as it

were, on two time levels, the ancient-mythical and
the contemporary. Medea and Jason first appear as
45. Broder, 102.
46. Ibid., 38.
47. Information contained on the jacket of the record:

London LPS 333*
312
godlike, superhuman figures of the Greek tragedy.

As the tension and conflict between them increase,
they step out of their legendary roles from time
to time and become the modern man and woman,
caught in the nets of jealousy and destructive
love; and at the end reassume their mythical
quality. In both the dancing and music, archaic
and contemporary idioms are used. Medea, in her
final scene after the denouement, becomes once
more the descendant of the sun.
Beside Medea and Jason there are two other

characters in the ballet, the Young Princess
whom Jason marries out of ambition and for whom
he betrays Medea, and an attendant who assumes
the part of the onlooking chorus of the Greek
tragedy, sympathizing, consoling and interpreting
the actions of the major characters.
The suite follows roughly the form of a Greek

tragedy. In the Parodos the characters first
appear. The Choros, lyric and reflective, com
ments on the action which is to unfold. The
Young Princess appears in a dance of freshness
and innocence, followed by a heroic dance of
Jason. Another plaintive Choros leads to Medea's
dance of obsessive and diabolical vengeance. The
Kantikos Agonias, an interlude of menace and
foreboding, follows. Medea's terrible crime,
the murder of the Princess and her own children,
has been committed, announced at the beginning
of the Exodos by a violent fanfare of trumpets.
In this final section the various themes of the
chief characters of the work are blended together;
little by little the music subsides and Medea and
Jason recede into the legendary past.48
The avoidance of a literal interpretation of the
Medea-Jason legend is reflected in the treatment of the
musical materials. The principal melodic material that is
48. Mote for "Medea, 11 in the published score, Copyright 1949*

by G. Schirmer, Inc., New York.
313
presented in the "Parados" consists of two main motives
(Motives A and B) and a theme. Of the two motives that are
presented, neither can be consistently associated with one of
the two principal characters, but each may appear with either,
and often one is interpolated between parts of the other.
Over a forzando chord in the strings, brass, percussion, and
bassoons, Motive A is introduced by the upper woodwinds,
xylophone, and piano. The sustained chord consists of a
perfect fifth and major seventh above the bass tone C; the
interval of a second and its expansion (a ninth) marks
Motive A:
Of the two "time levels" mentioned by the composer
in the note in the score, the "ancient-mythical" is suggested
by the theme that begins at measure 7 (see Example 162). As
49. Copyright 1949* by G. Schirmer, Inc., New York.
314
the first clarinet, harp and piano supply repeated figures
stressing the interval of a second, the first violins intro
duce the antecedent phrase of the theme as the tonality shifts
to A flat. The consequent phrase is played by the first
bassoon under a repeated pattern in the oboe; an augmented
sixth interval (A^-P^) is quietly sustained by the strings as
the consequent phrase begins (m. 14-16), giving way to the
interval of a second at measure 16 (violins only). Both
phrases of this theme are built on a three-note figure that
stresses the interval of a second; this figure is bracketed
in the following example:
Ex. 16250 Antecedent Phrase
Consequent Phrase
50. Ibid.
315
Motive A (see Example 161) returns at measure 21 as
the tonality reverts momentarily to C. A rapid scale pattern
and repeated figure stressing the interval of a second
(m. 22-25) lead to Motive B beginning on the last half of the
third beat in measure 25 (see Example 1 6 3 ). Prom this point
to the end of the movement, Motive A is interpolated between
parts of Motive B. Like the theme (see Example 162), the
material used to accompany Motive B includes a three-note
figure employing seconds.
51
Ex. 163 Motive B
Fl.JHn.
y/t|. only
* ----------- C 1 3 - ,
T f i - s ------------ 'r
f H atj: iz l.j ------------- TL f -
-----
t 77 -
w
ttc .
Vc.,DJB. vt .Vc. (;* othue.t)
--- 1 tru p -- - ------- Ifpfr y, ft far r p -i
Although the chord structures are made complex by
the addition of the Interval of a second (in its inverted and
expanded forms also), the important harmonic movement can be
determined. At measure 26 the tonality centers about G flat;
it shifts then to A (m. 3*0 * touching upon P at measure 40,
51. Ibid.
316
reverting to A at measure 50; finally, it returns to the
original tonality of C (m. 54).
The three-note figure employing the interval of a-
second is again prominent throughout the "Choros," which is
divided into two parts and followed by a postlude. The first
part (m. 1-85) follows a tripartite design ( a H a 2 ). In the
a^ section (m. 1-28) the flute, oboe, and clarinet present
Choros-Theme A in the tonality of A flat. The theme is
made up of descending and ascending three-note figures:
Ex. 16452
A llc ^ w t t o I[ W )
I - s te v
-
! ---------- _J ^
i V*tp
<
1 i ^ |
h e z ib e 1f f K w f - - - - S - 7 - =
fr- fjr
Ti fe:
T I
14 f a - + - k b
wip
i -c :m
i

- d l - J f a
Wtp
52. Ibid.
317
At measure 17 the bassoon continues the dotted quarter and
sixteenth-note rhythm while the trumpet (later the flute and
clarinet) presents a variant of the theme:
Tft
X
Frequent simultaneous cross-relationships in the chord
structures, which largely result from the use of the
intervals of a second and ninth, appear during the homo-
phonic presentation of Choros-Theme B that follows in the
b section (m. 29-67):
53. Ibid.
313
Ex. 16654
(yi *ren4et<*l)
t r ~ 3 1 1R F b * . 1 1
- F to
*1f f *
While a tonal shift from A flat to D occurs as the above
theme begins, the tonality within this section is often
unclear. Following an abbreviated statement of the theme
in the trumpets and trombones (m. 64-67), the tonality
reverts to A flat. The a section (m. 68-8 5 ) begins as the
variant of Choros-Theme A (see Example 165) is restated by
the bassoon and later the first violins. The first part is
brought to a close in measure 85 by the cellos and double
basses playing the three-note figure (see Example 164) that
began the movement.
The second section "Medea and Jason" (m. 85-127)
is divided into two parts. Except for tonality and minor
changes in instrumentation, the first part (m. 85-Hl), which
concerns itself with Motives A and B, is similar to measures
26 to 47 of the first movement. A sustained G flat pedal
54. Ibid.
319-
(m. 85-8 9 ), which suggests the Neapolitan area of F, is
followed by an implied dominant to tonic cadence in F (m. 90-
91), the over-all tonality of this part. A tonal shift to D
and contrapuntal treatment of a new figure made up of seconds
(see Example 1 67 ) mark the beginning of the second part
(m. 111-126). Over a tremolo-figuration in the harp and
piano stressing minor and major seconds, the rising sequential
pattern played by the oboe and reinforced by the second
violins gives the effect of stretto-like, mirror Imitations
of the five-note repeated figure in the clarinet, supported
by the violas.
Ex. 16755
vnotto tntVme.ma j
IP -
ri-- - [fcp? f*rfncfr" T W 1
= 4==Ur ---- f ||J
<
H r 2
=~"- : ---
W ir
The tension quickly mounts as the instrumentation is
increased, and, at measure 120, a double forte is reached on
55. Ibid.
320
an F sharp diminished-minor ninth chord played by the full
orchestra. Rapid descending patterns., which derive from the
five-note figure that began this part (see Example 167),
appear in the brass, strings, woodwinds, and piano (m. 120-
126) while the chord on F sharp is sustained (note that the
second trumpet sustains an F natural from measure 122 to 126).
This rapid passage leads to the largamente or pcstlude section
beginning at measure 127 while the tonality shifts to C during
the repetition of the tonic and subdominant chords of C. The
movement is brought to a close by a three-note figure made up
of descending minor seconds played by the strings along with
imitative entries in the horn, trombone, and, later, the

/ b .
bassoon. The final chord (F, E , and G), which concludes a
kind of plagal cadence, again draws attention to the interval
of a second in its inverted and expanded forms.
An attacca is indicated for the third movement
where C is retained as the over-all tonality. The two
dances that make up this section The Young Princess; Jason;
fall into a closed two-part form preceded by an introduction
and followed by a coda. The woodwinds freely exchange an
ascending sixteenth-note pattern in the short introduction
(m. 1-6), in which the tonic chord of C is represented by an
Incomplete ninth chord (CGD). The interval of a second again
321
predominates in the principal melody of Part I, which is
played by the oboe beginning in measure 6:
56
Ex. 168
1
3-Wife
The subdominant, dominant of the dominant, dominant, and
tonic chords of C (m. 9-20) make up the sketchy chordal
background as the woodwinds again take up the introductory
material. A second statement of the above melody in the
Neapolitan area of C (oboe, m. 20-23) is followed by the

57
introductory pattern in the woodwinds. Part I is brought
to a close by the tympani, piano, cellos, and double basses
on the tone C (m. 26).
Jason's heroic dance begins at measure 27, the
first principal theme of Part II (m. 27-46) being introduced
by trumpets in the new tonality of E; in essence it is an
elaborate treatment of Motive A:
5 6 . Ibid.
57. The ritornello concept is suggested by the return of the

introductory pattern; it separates the two statements of
the theme and concludes Part I.
322
Ex . 16958
J:fcO
C-TpT.
P e ^ f g
O
} y f IS
: ^
H '
Following another complete statement of this theme inthe
woodwinds supported by the piano an<f strings (m. 31-3 3 )> the
second principal melody of this part is introduced by the
horns over an E pedal and a fragment from the head of the
first theme in the violas and cellos:
Ex. 17059
A tonal shift to F is made in the second section of Part 2
(m. 41-46), in which transformations of both themes are
5 8 . Copyright 1949# G. Schirmer.
59. Ibid.
323
presented simultaneously; (a complete statement of the second
theme appears in measures 41 to 43). The tonality reverts to
C at measure 47 as the coda begins.
Frequent meter changes and short cadencing patterns
utilizing both themes characterize the short coda (m. 47-63).
The tonality of C is strongly felt up to the penultimate
measure, the final chord, however, being a major third on B
flat.
Like the preceding movement, the fourth, "Choros,"
is a closed two-part form. A rltornello is again suggested
by the frequent appearances of a short introductory figure,
which separates several statements of the principal theme
in Part 1 and rounds out Part 2:
60
Ex. 171
The principal theme of Part 1, which follows in measure 5*
contains an ascending three-note figure in which the
second is the characteristic interval, followed by a
descending chordal outline (see Example 172). Of particular
60. Ibid.
324
harmonic interest in Part 1 is the emphasis that is placed on
chords built in seconds (BCD, DEF, etc.). The key of A minor
prevails throughout Part 1 and is only momentarily relinquished
during Part 2.
Ex. 17261
The eight-measure theme comes to a close on the tonic triad
of A minor (m, 11), after which the introductory figure is
restated by the violins and subjected to sequential treat
ment by the oboe (m. 17-22). This figure also follows the
second statement of the theme in the clarinet (m. 23-28) and
the third in the flute (m. 33-40), bringing Part 1 to a close
in measure 47 on an open fifth on A.
Part 2 consists of a literal repetition of Choros-
Theme B (see Example 166) from the second movement; measures
48 to 73 are identical to measures 29 to 54 of the second
movement. The introductory figure is played in the closing

v
measures by the flute, bringing the movement to a close on an
open fifth on A.
61. Ibid.
325
With Medea's frenzied dance of vengeance in the
fifth movement, the high point of tension is reached. An
extended prelude leads to the dance, after which a coda,
which maintains the high tension level, brings the movement
to a close.
With the beginning of the prelude in B flat minor,
Motive L is softly played by the harp and piano, providing
a background for the quasi recitative solo in the English
horn that forecasts fragments of tne dance theme:
62
Ex. 173
n f
w w*w
62. Ibid.
326
The somber mood of the initial measures is interrupted at
measure 12, where the full orchestra deals with fragments of
the dance theme and Motive B in the tonality of G flat. More
elaborate treatment of the English horn melody is heard in
the flute and clarinet (m. 27-31)* leading at measure 34 to
rapid descending sixteenth-note patterns based on the interval
of a second. The dynamic level reaches forte at measure 42.
Here the three-note ascending figure that was used to
accompany Motive B in its initial presentation (see Example
163) is forcefully stated by the brass against Motive A in
the piano and xylophone. Although the dynamic level reverts
to piano and the texture thins out between measures 46 and 50,
the repeated figure in the strings and the rhythmic sixteenth-
note pattern in the side drum (see Example 174) are enough
to maintain the nervous tension that has been created.
327
63
E x. 174
Ski
L >|_,iBMTOm
5U,jrum W W t M WMM
rtttnJ JWITO _____________ ________
tf= 3
-Pf
ffii{X
ltf
g tn y
X
1
The close Integration of the thematic and
accompaniment material, most of which is built on a rising
or falling three-note figure of which the second is the
characteristic Interval, is perhaps more clearly shown in
Medea's dance, which now begins, than in any other part of
the suite. Divided into three sections, the subdivisions
within the first two being set off by the repeated figure
quoted above, it commences in B flat minor with an ostinato
figuration that provides an accompaniment for the "con-

,,64
temporary theme presented by the oboe in measure 5 1 .
6 3 . Ibid.
64. Refers to "time level" as mentioned by the composer.
328
65
E x. 175
S3 >
. z r*
1I
n -------------------------------------- 1
P W '"J\j. ii \
---5 /--d
-M -----
...
N S W
Section I (m. 50-105) is divided into three sub
sections. In the first (m. 50-66), the oboe, bassoon, and
clarinet share two statements of the theme over the ostinato
pattern in the piano. Following a statement of the repeated
pattern in the strings and side drums that begins sub-section
2 (m. 67-8 3 ), the theme appears in the woodwinds and trumpets
over the ostinato pattern, which is later reinforced by the
bassoons and low strings. This part comes to a close with
a reference to the tail of the second theme from Jason's
6 5 . Copyright 19^9* C. Schirmer.
329
heroic dance (m. 82-84) of the third movement (see Example
170). In the concluding part of Section I (m. 85-105), the
theme and its transformations are forcefully stated by the
brass as the woodwinds, strings, and xylophone join with the
piano in reinforcing the ostinato figuration.
A tonal shift to F is made as the trumpets and
trombones add rhythmic vitality to the repeated figure in the
strings and side drum that begins Section II (m. 106-150).
Structurally, this section is the same as the preceding one,
the shift to the dominant tonality of P and the change in
texture and treatment of the material being the determining
factors in the formal division.
Sub-sections 1 and 2 of Section II (m. 106-122,
123-136) are essentially the same. The ostinato figuration
is played by the piano and bassoons over which the woodwinds,
trumpets and strings develop the tail of the theme, neither
the head nor complete statement of the theme appearing in this
section. In sub-section 3 (m. 137-150) the ostinato pattern
is somewhat modified and the principal theme of the dance does
not appear. Although no literal references are made, the
three-note figure that begins each melodic entry from measure
139 to 146 bears a marked resemblance to that which makes up
330
the head of the theme in the first movement (see Example 162).
Section III (m. 15O-I6 5 ) begins with the return to
the original key of B flat minor. A rising three-note pattern
replaces the repeated figure in the violin and side drum, arid
the ostinato pattern is dropped. The repeated violin figure
(see Example 17*0 is, however, referred to in the woodwinds
(m. 154-155) as the sixteenth-eighth-sixteenth-note rhythmic
division contained in the theme is stressed by the brass and
strings. A somewhat modified statement of the theme follows
in measures 157 to 160, giving way to the repeated three-note
figure (m. 162-165) that made up the ostinato pattern that
began the dance.
The nervous tension, which has been continually
building up throughout the dance, reaches its highest point
with the return of Motive B at the beginning of the coda in
measure 166. While the rhythmic drive is abated with the
return of the longer note values, the fortissimo brass and
strings maintain a high degree of tension right up to the
final unison B flat that ends the movement.
The ethereal, spirit-like musical setting of the
sixth movement, "Kantikos Agonias," is in keeping with this
interlude of menace and foreboding. Consisting of only
twenty-seven measures, it begins with a short motive
331
employing the interval of a ninth:
66
Ex. 176
This motive, which is later extended, introduces the three
statements of Choros-Theme 3 from the second movement (see
Example 166) and also brings the interlude to a close. The
tone G sharp, which pyramids through the orchestra, and an
incomplete chord structure including the interval of a
seventh (G^D^P^) that concludes the introduction (m.~12),
define the over-all tonal center.
The first statement of Choros-Theme B appears in
the oboe in measure 13 along with the introductory motive
in the strings. A filled-in interval of a seventh (G
down to A flat) accompanies the second;and third appearances
of the theme. (Note the canonic imitation between the oboe
and bassoon in the third statement, measures 19 to 22.) At the
66. Ibid.
332
close of the third entry of the theme the strings take up the
introductory material, bringing the movement to a close on
the incomplete chord outline on G sharp. The voicing of the
final chord draws attention to the interval of a second and
seventh.
Medea's violent crime the murder of the young
princess, the princess's father, and her own two children
is announced at the beginning of the final movement, "Exodos,"
by the polyharmonic fanfare in the trumpets:
67
Ex. 177
AUtJTpjiJ*J&fe)
.Trpt.l ^ ^
The first twenty introductory measures consist of rapid
sixteenth-note patterns in the woodwinds and strings and
eighth-note figurations in the brass, which continue to
exploit the interval of a second. The main body of the
movement thereupon begins with the return of the first theme
from Jason's heroic dance (third movement, see Example 169).
6 7 . Ibid.
333
Except for a momentary center on C sharp (m. 6-14), the
tonality remains in a state of flux until measure 43, where
the tonality of C is restored and thereafter maintained. The
following diagram will summarize the movement:
m. 1-20 m. 21-32 m. 33-38

Introduction: First theme from Transitional phrase
Motive B Jason's heroic dance consisting of re
providing a in strings, brass peated figure made
background for and woodwinds. up of seconds and
fragments of ninths.
Medea:s dance
theme.
m. 38-45 m. 46-56 m. 57-67

Motive B re A literal restate Motive A returning
turning in the ment of the postlude in the xylophone
woodwinds and from the second and piano and re
strings over movement (m. 127-136) peated during the
a reference restatement of
to Jason's the principal theme
theme in the from the first move
brass. ment . Movement
closes with an in
complete seventh
chord on G
(CEbB ) .
The seven short sections or movements of the suite
form an independent and self-sufficient musical structure,
unified by the transfer of material from movement to movement
and the close integration of the principal thematic material
itself. Not only do the two principal .motives reappear in
several movements, but parts of the fourth and sixth movements
are derived from thematic material from the second; Jason's
theme from the third movement, the postlude from the second,
Motives A and B, and the principal theme from the first move
ment return in the Exodos. Throughout this discussion it has
been shown that most of the principal thematic material con
tains a rising or falling three-note figure of which the
interval of the second is characteristic. This common bond
within the thematic structures is perhaps even more important
as a unifying factor than the transfer of material.
In the discussions of the Second Symphony,
the Capricorn Concerto, and the nostalgic Knoxville: Summer
of 1915* the importance of the interval of a second has been
brought out. In Medea the interval of a second (or its ex
pansion, a ninth, or inversion, a seventh) is the generating
source for the entire work; it determines the main melodic
material and important structural points, frequently re
placing tonality as a means of unification.
335
Summary
Music critics and historians have found it con
venient to place many contemporary American composers in
groups and to label each group. Alloted to the class of
"neo-romantics," and often cited as one of its most out
standing representatives, is Samuel Barber. Although
meaningful up to a certain point, pigeonholing of this
sort often results in oversimplification when a composer's
total output is carefully examined. Labeling Barber's music
neo-romantic, while helpful in describing his earlier works,
disregards significant elements in his later and more im
portant products.
It has been found that traditional procedures
are characteristic of nearly all of Barber's music up to
about 1939. After this time these procedures begin to
be mingled with, or replaced by, a technical enrichment.
Although foreshadowed here and there in earlier works,
the first extensive evidence of the change of style
and the musical growth that results from this fusion
of the old and new elements, is found in the Concerto
for Violin and Orchestra, Opus 14, written in 1939.
This musical growth reveals itself in the technical aspects
of melody, harmonic and contrapuntal texture and rhythm, as
336
well as in alterations of structural designs.
The melodic structure in the earlier music is
largely governed by its tonality, modal substitutes being
frequently used for various diatonic scale degrees. Many
of the simple folk-like melodies as well as the more
dramatic and expansive lines are made up of chordal patterns
(particularly seventh-chord outlines). In the later music,
the lyric type of line tends to become more angular and
more chromatic; this chromaticism sometimes results from
more extended modal substitution the refrain from A
Stopwatch and an Ordnance Map (1940) being one example of
this practice (see Example 44, page 112). In the Capricorn
Concerto, Violoncello Concerto, Second Symphony, and
particularly in Medea, the dramatic type of line, while re
taining the broad leaps, is contracted into a short theme
or motive, poignant and piercing. Tonality is no longer the
principal governing factor; instead, certain intervals
dominate the melodic structure the significant role that
is played by the interval of a second having already been
stressed many times in this study. Samuel Barber continues
to show his predilection for melodic structures made up of
chordal outlines, thus providing one important common bond
between his earlier and later music.
337
The chord structures in the majority of the
earlier works are built in thirds and are generally limited
to common triads and seventh-chords with added tones. In
addition to the secondary dominants, the Neapolitan sixth
chord and especially the augmented sixth chord types are
frequent. Even in the earliest works, each of which is based
on a single tonal center, Barber employs the concept of
interchangeability of mode. The harmonic texture is generally
consonant, dissonant tones being resolved according to
traditional procedures. After about 1939 the chord
structures, which are often the result of the confluence of
contrapuntal lines, become more complex and the harmonic
texture grows more dissonant. Although chords are still
predominantly built in thirds, it is through the inter
action of quartal and tertian harmony and the employment of
split intervals, i.e., simultaneous use of both major and
minor thirds or perfect and imperfect fifths, that more
complex sonorities result.
While most of the later works are still anchored
to a tonal center, devices new to Barber's music are intro
duced. The chordal work Anthony 0 Daly is constructed above
or below the tone E, which is sounded in all but four of its
86 measures. Polyharmony appears in the fugal section of
the Second Essay and it is employed to recall a violent
338
murder in Medea. In the Piano Sonata tonality is sometimes
abandoned while Barber explores the possibilities of the
twelve-tone style of writing.
While the harmonic texture of many of the earlier
works may be said to stem from Bach by way of Brahms, it is
wholly contemporary in spirit in such later music as the
Capricorn Concerto, Second Symphony, Song Cycles, Piano
Sonata, and Medea.
Barber's rhythms are varied and free from
mannerisms. In the song literature the vocal lines are
carefully suited to the rhythm of the words, frequent meter
changes being employed where necessary. In the instrumental
music the rhythms range from the even stride of quarter notes
in the Adagio for Strings to the more irregular a.nd unusual
organizations used in the third movement of Excursions.
In the discussion of form in the Harvard
Dictionary of Music, it is stated:
339
There exists a widespread tendency among m o d e m

composers and writers to deny, or at least to
minimize, the importance of musical forms, the
view being that each composition creates not
only its own inner form (form within the com
position; ) but also its outer structure (foym
of the composition).
While the above statement may be justified and applicable to
many works of the nineteenth and twentieth century, it is
inappropriate as far as the music of Samuel Barber is con
cerned. Barber's feeling for form is strong, and it is
in this respect that his entire musical output shows the
closest ties with the past. In the solo song literature
the formal designs include, among others, the simple varia
tion type, bar-form, binary and ternary structures, and the'
more extended rondo. It would appear that the composer's
choice of a text for his solo songs and choral pieces is
often determined by the formal possibilities it offers. The
larger compositions are firmly rooted in the principles of
sonata construction. Although Barber does show an almost
slavish reliance upon well tested models in several of his
earliest works (e.g., Overture to the School for Scandal,
1931, Sonata for Violoncello and Plano, 1932), in later ones
he imposes many changes on the traditional designs, changes
1. Harvard Dictionary of Music (Cambridge: Harvard

University Press', 1^4), 279.
340
that bring about logical and well-integrated treatment of
the material. In the song literature and instrumental works,
Barber frequently builds an entire piece out of the material
presented in the introduction. This procedure has been
noted especially in the discussions of the two Song Cycles,
the first movement of the String Serenade, first movement of
the Capricorn Concerto, and in the First Symphony. In the
two Essays the composer employs, in altered form, material
presented early in each composition.
Most of Barber's large works are scored for the
usual woodwind, brass, percussion, and string groups that
make up the twentieth-century orchestra. Even in his
earliest works, in which he tends to rely upon well-tested
instrumental combinations and doublings, his orchestration
is tasteful and-varied and his sense of instrumental colors
is in keeping with the fundamentally lyric character of his
music. In the later music Barber shows his ability to ex
ploit the idiomatic capacities of the Individual instruments;
his use of the English horn, bass clarinet, and especially
the piano is noteworthy.
Since his separation from the Army in 1945, Barber
has been living in comparative seclusion in his home in Mt.
Kisco, New York, preoccupied with composition. He is one of

341
the relatively few serious American composers who prefers
and is able to earn a living by composition alone. His
devotion to his art, his adherence to the highest standards,
and his power of self-criticism, give every indication that
he will continue to make important contributions in the field
of serious music of the twentieth century.
342
APPENDIX A
Chronological List of Published Works
Title Date
The Daisies" for voice and piano, Op. 2, No. 1 1927
"With Rue My Heart is Laden" for voice & piano,

Op. 2, No. 2. 1928
Serenade for String Quartet or String

Orchestra, Op7 V. 1929
Dover Beach for voice and string quartet, Op. 3 1931
Overture to The School for Scandal, Op. 5 . 1931
Sonata for Violoncello and Piano, Op. 6 . 1932
Music for a Scene from Sheiley, Op. 7. 1933
"Bessie Bobtail" for voice & piano, Op. 2. 1934
"The Virgin Martyrs" for 4-part chorus of

women's voices, Op. 8 , No. 1. 1935
"Let Down the Bars, 0 Death" for 4-part chorus

of mixed voices, Op. 8 , No. 2. 1936
Symphony N o . 1_, Op. 9. 1936 (rev. 1942)
Three Songs set to Poems from "Chamber Music"

by James Joyce, Op. 10. 1936
1. "Rain has Fallen."

2. "Sleep Now."
3. "I Hear an Army" (also for voice & orch.).
String Quartet, Op. 11 1936
Adagio for Strings (the slow movement of Op. 11

arr. for Str. Orch.). 1936
"Mary Hynes" for 4-part chorus of mixed voices,

Op. 16, No. 1. 1936
343
Essay for Orchestra, Op. 12. 1937
"A Nun Takes the Veil" for voice & piano,

Op. 13, No. 1. 1937
"The Secrets of the Old" for voice & piano,

Op. 13, No. 2. 1938
"Sure on This Shining Night" for voice & piano

(also for voice & orch.), Op. 13., No. 3 . 1938
Concerto for Violin and Orchestra, Op. 14. 1939
"Nocturne" for voice & piano (also for voice &

orch.), Op. 13, No. 4. 1940
A Stopwatch and an Ordnance Map for chorus of

men's voices & 3 kettledrums, Op. 1 5 . 1940
"Anthony 0 Daly" for 4-part chorus of mixed

voices, Op. 16, No. 2. 1940
"The Coolin'1 for 4-part chorus of mixed voices,

Op. 16, No. 3 . 1940
Second Essay for Orchestra, Op. 17. 1942
"The Queen's face on the Summery Coin" for

voice & piano, Op. 18, No. 1. 1942
"Monks and Raisins" for voice & piano, Op. 18,

No. 2. 1943
Commando March for band. . 1943
Symphony N o . 2, Op. 19. 1944 (rev. 1947)
Excursions. Pour piano pieces, Op. 20. 1944
Capricorn Concerto for flute, oboe, trumpet,

& strings, Op. 21. 1944
Concerto for Violoncello and Orchestra, Op. 22. 1945
Suite from the Ballet Medea, Op. 23. 1947
344
Ifooxville: Summer of 1915for soprano &

orch., Op. 24. 1947
Nuv.oletta for voice & piano. Op. 2 5 . 1947
Piano Sonata, Op. 26. 1949
Melodies passageres for voice & piano, Op. 27 1950-51
1. "Puisque tout passe."

2. "Un cygne."
3. "Tombeau dans un pare."
4. "Le clocher chante."
5. "Depart."
Souvenirs, Ballet Suite, 1 Op. 28, for (a) One piano,

four hands (b) Orchestra. 1952
Hermit Songs for voice & piano, to poems
translated from anonymous Irish texts of
the 8th to 13th centuries, Op. 2 9 . 1952-53
1.
"At St. Patrick's Purgatory."
2.
"Church Bell at Night."
3.
"St. Ita's Vision."
4.
"The Heavenly Banquet."
5.
"The Crucifixion."
6.
"Sea-Snatch."
7.
"Promiscuity."
.8 .
"The Monk and His Cat."
9.
"The Praises of God."
10.
"The Desire for Hermitage."
2
' Prayers of Kierkegaard for chorus of mixed voices,
soprano solo, and orchestra, Op. 30. 1954
3
Summer Music for woodwind quintet, Op. 31. 1957
4
Vanessa, an opera in preparation.
1. Not included in this study.
2. Ibid.
3. Ibid.
4. Ibid.
345
APPENDIX B
List of Records
Dover Beach, Op. 3.
Samuel Barber, baritone; Curtis String Quartet.

2 sides, 12" 78 rpm, 1936. RCA 8998 (out of print).
Paul King, baritone; Hartt String Quartet. 1/2 side,

12" 33 1 /3 rpm. See Symphony No. 1, Op. 9, below.
Overture to The School for Scandal, Op. 5.
Janssen Symphony Orchestra of Los Angeles,

conducted by Werner Janssen. 2 sides, 12" 78 rpm,
1944. RCA Victor 11-8591.
Eastman-Rochester Symphony Orchestra, conducted by

Howard Hanson. 1 /3 side, 33 1/3 rpm, 1953.
Mercury 40002.
Note: The same side also includes the Adagio for

Strings, Op. 11, and Essay for Orchestra, O p . T 5 7
Morton Gould's Latin-Ame'rican Symphon'ette is on
the other side.
American Recording Society Orchestra, conducted by

Walter Hendl. 1/2 side, 10" 33 1/3 rpm (1953, for
subscribers only). American Recording Society ARS 26.
Note: The same side includes Music for a Scene from

Shelley, Op. 5 . Aaron Copland's AppalacELan Spring
is on the other side.
Sonata for Violoncello and Piano, Op. 6 .
Raya Garbousova, cello; Erich-Itor Kahn, piano. 8

sides, 4 1 2 " 78 rpm, with album (1947, for subscribers
only). Concert Hall B 1. Also 1 side, 12" 33 1/3
rpm (1951). Concert Hall S 1092.
George Ricci, 'cello; Leopold Mittman, piano. 1/2 '

side, 12" 33 1/3 rpm, 1951. Stradivari 602.
t
346
Note: The other side includes the String Quartet,

Op. 1 1 . -------
Music for a Scene from Shelley, Op. 7.
American Recording Society Orchestra. See Overture

to the School for Scandal, Op. 5, above.
Let Down the Bars, 0 Death, Op. 8 , No. 2.
Vienna State Academy Chamber Chorus, conducted by

Ferdinand Grossman. 1/4 side, 12" 33 1/3 rpm, 1952.
Vox PL 7750.
Note: This disc is entitled A Concert of American

Music in Schonbrunn. Choral pieces of PTstoh,
CoplancTT Thompson and Thomson are also included.
Symphony No. 1, Op. 9.
New York Philharmonic-Symphony Orchestra, conducted by

Bruno Walter. 4 sides, 2 12" 7*8 rpm, with album, 1945.
Columbia MX-252.
Note: Issued in England, 1948, as Columbia LX-1077/8.
Stockholm Symphony Orchestra, conducted by Nils

Lehman. 1 side, 12" 33 1/3 rpm, 1952. Classic CE 1011.
Note: The other side contains Dover Beach, Op. 3>

and Three Songs set to Poems from Chamber Music
by James Joyce, Op. 10.
Eastman-Rochester Symphony Orchestra, conducted by

Howard Hanson. 33 1 /3 rpm. Mercury MG 50087.
The New Symphony Orchestra (London), Samuel Barber

conducting. 33 1/3 rpm. London LL 1328.
Three Songs set to Poems from Chamber Music by James

Joyce, Op. 10. Paul King, baritone; Samuel Quincy,
piano. See Symphony N o . 1., Op. 9> above.
"Sleep Now," Op. 10, No. 2.
Marilyn Cotlow, soprano; Claire Stafford, piano. 1

side, 10" 78 rpm, 1949. RCA Victor 10-1467. Also
1 side, 7" 45 rpm, RCA Victor 49-0679.
347
String Quartet, Op. 11.
Stradivari Record Quartet. 1 side, 12" 33 1/3 rpm,

1951. Stradivari 602.
See Sonata for Violoncello and Piano, Op. 6, above.
Adagio for Strings, Op. 11
NBC Symphony Orchestra, conducted by Arturo Toscanini.

2 sides, 12 78 rpm, 1942. RCA Victor 11-8287.
Note: Issued in England, 1945, as HMV DB-6180.
Boyd Neel Orchestra, conducted by Boyd Neel. 2 sides,

12" 78 rpm, 1950. (English) Decca X-305.
Note: Issued in America in 1950, record entitled

Music of the 20th Century. Also contains "Prayer"
for ceTTo and piano by Ernest Bloch and "Pour Piano
Blues" by Aaron Copland. 10" 33 1/3 rpm. London
LPS 298. See also Overture to The School for Scandal,
Op. above.
Essay for Orchestra, Op. 12.
Philadelphia Orchestra, conducted^by Eugene Ormandy.

2 sides, 12" 78 rpm, 1941. RCA Victor 18062. See
Overture to Tne School for Scandal, Op. 5, above.
Concerto for Violin and Orchestra, O p . 14.
Louis Kaufman, violin. Winterthur Orchestra, con-,

ducted by Walter Goehr. 2 sides, 12" 33 1/3 rpm
(1951, for subscribers only). Concert Hall E 8.
Berlin Radio Symphony Orchestra, soloist and con

ductor are given fictitious names (Hans Girdach,
violin, Helmut Schultz, conductor).' 2 sides, 10"
33 1/3 rpm. Regent MG 5024.
Symphony N o . 2, Op. 19.
New Symphony Orchestra, conducted by Samuel Barber.

2 sides, 10" 33 1/3 rpm, 1951. London 334.
348
Excursions, Op. 20.
Rudolf Firkusny, piano. 1 side, 33 1/3 rpm. See

Knoxville; Summer of 1913, Op. 24, below.
______ : No. 4 (Allegro molto) only.
Andor Foldes, piano. 1 side, 10" 78 rpm, 1947.

Vox 174.
Note: The album, which contains four records, is

entitled Contemporary American Piano Music. It also
contains compositions by Bowles, Copland, Harris,
Piston, Schuman, Sessions, and Thomson.
Capricorn Concerto, Op. 21
Julius 3aker, flute; Mitchell Miller, oboe; Harry

Freistadt, trumpet; Saidenberg Little Symphony,
conducted by Daniel Saidenberg. 4 sides, 2 12"
78 rpm, with album (1947, for subscribers only).
Concert Hall A 4. Also 1 side, 12" 33 1/3 rpm,
1951 CHS 1078. Schuman1s Symphony for Strings
is on the other side.
Concerto for Violoncello and Orchestra, Op. 22.
Zara Nelsova, 'cello; New Symphony Orchestra, con

ducted by Samuel Barber. 2 sides, 10" 33 1/3 rpm,
1951. London LPS 332.
Suite from the Ballet Medea, Op. 23.
New Symphony Orchestra, conducted by Samuel Barber.

2 sides, 10" 33 1/3 rpm, 1951. London LPS 333.
Knoxville: Summer of 1915, Op. 24.
Eleanor Steber, soprano; Dumbarton Oaks Chamber

Orchestra, conducted by William Strickland. 1 side,
10" 33 1/3 rpm, 1951. Columbia ML 2174.
Note: The other side contains Excursions, Op. 20,

played by Rudolf Firkusny.
349
Sonata for Piano, Op. 26.
Vladimir Horowitz, piano. 1 side, 12" 33 1/3 rpm,

1950. RCA Victor LM 1113. Also 4 sides, 2 12" 78
rpm, with album, RCA Victor DM 1466.
Hermit Songs, Op. 29.
Leontyne Price, soprano; Samuel Barber, piano.

1 side, 12" 33 1/3 rpm. Columbia ML 4988.
Note: The other side contains String Quartet No. 1

by Alexes Haieff.
Commando March
Eastman Symphonic Wind Ensemble, conducted by

Frederick Fennell. 1/3 side, 12" 33 1/3 rpm, 1953.
Mercury 40006.
Note: This record is entitled American Concert Band

Masterpieces. It also contains works by Persiche'tti,
Gould, Schuman, Bennett, and Piston.
350
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143.
Broder, Nathan, "The Music of Samuel Barber," The Musical

Quarterly XXXIV (July 1948), 325-335.
'Cowell, Henry, "Current Chronicle," The Musical Quarterly

XXXVIII (July 1952), 435-437.
Dexter, Harry, "Samuel Barber and His Music," Musical

Opinion 72 (March 1949)* 285-2 86.
, "Samuel Barber and His Music," Musical Opinion 72

('April 1949), 343-344.
Elliot, J. H., "Samuel Barber's First Symphony," Halle'.

A Magazine for the Music Lover (November 13, 1954).
Ford, Dorothy, "American Profile," Australian Musical News

and Digest XXXVIII (July 1947 )7TT:
Grater, Manfred, "Der Sanger von Capricorn," Zeitschrift

Fur Neue Musik (September 1954), 247-251.
Haber, Julius, "News Information - Adagio for Strings,"

R.C.A. Manufacturing Co., Inc.
Hofmann, Josef, "More American Music," Musical Events

(April 1938), 77-78. :
Horan, Robert, "American Composers, Samuel Barber,"

Modern Music XX (March-April 1943), 161-1 6 5 .
, "American Composers, Samuel Barber," M o d e m Music

SC (April 1948), 1 69. ------------
354
La Grange, Henri-Louis, de, "D'Amerique, Un Compositeur

Americain Independant: Samuel Barber, "Contrepoints,
No. 4 (Mai-Juin 1940), 63-67.
McIntyre, Kerverell, "Barbers Symphony No. 1 - Opus 9,"

The Canon 2 (May 1949), 3 51 .
Mills, Charles, "Over the Air," Modern Music XXII (March-

April 1945), 209.
Oliver Edel, "Sonatas for Cello & Piano," Repertoire I

(October 1951), 50-51.
"Prix de Rome Winner Prepared for Work as Composer with

Wide Musical Curriculum." Musical Events (December
1935).
Quillian, James W., "The Songs of Samuel Barber,"

Repertoire I (October 1951), 17-21.
Rawlinson, Harold, "Famous Works for String Orchestra,"

The Strad LX (April 1950) Astor Lenox, Tilton
Foundation'.
Smith, William E., "Samuel Barbers Music Given at Special

Concert," Musical America (March 1937), 34.
Tischler, Hans, "Barber's Piano Sonata, Opus No. 26,"

Music and Letters XXXIII (October 1952), 352-354.
Newspapers
Detroit Free Press, February 26, 1956.
New York Herald Tribune:'*'

MarcfT247"l335T----
December 14, 1936.
March 26, 1937.
1. The writer is indebted to Rutherford D. Rogers, Chief

of the Reference Department of the New York Public
Library, for supplying microfilm copies of clippings
taken from the New York Herald Tribune.
355
May 2, 1937.
April 17, 19*12.
September 4, 1942.
March 10, 1944.
October 12, 194.5.
June 28, 1946.
November 30, 1947.
April 5,-1948,
January 5, 1950.
The New York Sun, March 20, 1937.
New York Times:

~5pril 12, 1933.
May 10, 1935.
June 26, 1935.
December 14, 1936.
March 21, 1937.
March 25, 1937.
March 26, 1937-
May 2, 1937.
October 27, 1938.
November 6 , 1938.
November 13, 1938.
November 20, 1938.
November 27, 1938;
December 25, 1938.
April 16, 1939.
December 29, 1939*
January 21, 1940.
August 10, 1941.
July 26, 1943.
March 4, 1944.
March 10, 1944.
April 7, 1946.
June 28, 1946.
December 29, 1946.
February 23. 1947.
September 24, 1947.
November 30, 1947.
December 15, 1949.
December 12, 1954.
- December 9, 1954.
2. Ibid., The New York Sun.
356
Program Notes
Burk, John, program annotator, Boston Symphony Orchestra,

Eighteenth Program, 1943-1944.
Boston Symphony Orchestra. Carnegie Hall Program,

March, 1944.
______ . Carnegie Hall Program, February, 1945.
New York Philharmonic Society Program. Summer Concerts

Orchestra, Robin Hood Dell, Fairmont Park,
Philadelphia, August 20, 1933.
Smith, George Henry Lovett, program annotator, Cleveland

Orchestra, 1943-1944.
Town Hall Recital, "Melodies passageres," Pilrre Bemac,

baritone, Francis Poulenc, pianist, February 10, 1952.
_, "Reincarnations," The Hufstader Singers,

December 16, 1951-
Letters
Barber, Samuel, letter to writer, dated March 28, 1955.
Batson, Florence L., Permission Department of the Macmillan

Company, letter to writer, dated November 11, 1955.
Briggs, Grace A., for the Harvard University Press, letter

to writer, dated November 28, 1955*
Bujalski, Ann S., Permissions Department of Yale University

Press, letter to writer, dated November 15, 1955.
Cumberlege, Geoffrey, for the Oxford University Press,

letter to writer, dated November 16, 1955-
Frankenstein, Alfred, San Franciso Chronicle, letter to

writer, dated January 9, 1956.
Heinshelmer, H. W., G. Schirmer, Inc., Music Publishers,

letter to writer, dated September 21, 1955.
Rogers, Rutherford D . , Chief of Reference Department,
The New York Public Library, letter to writer,
dated December 1, 1955*
Shereff, Dorothy L., for The Viking Press, letter to

writer, dated November 11, 1955.

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I

Xerox University Microfilms, Ann Arbor, Michigan 48106

OF THE PUBLISHED MUSIC OF

A dissertation submitted in partial fulfillment of

Chairman: Professor Thomas S. Turner

I Music for Solo Voice with Accompaniment ........ 1

Opus 2 9 ...................... . ................ 83

II The Choral M u s i c ................................105

Opus 8 ........................................ 105

Opus 1 5 ......... ............................. 110

Opus 1 6 ........................................ 115

III The Piano Music......... 123

Excursions, Opus 2 0 ............................123

Serenade for String Quartet or String

V The C o n c e r t o s ..................... 189

Concerto for Violin and Orchestra, Opus 14 . . 189

First Symphony, Opus 9 .................... 240

VII The Miscellaneous Orchestral Works ........... 273

Overture to The School for Scandal,Opus 5 . . 273

VIII S u m m a r y .......................... 335

Appendix A: ChronologicalList of Published Works . . . 342

Appendix B: List ofR e c o r d s ............................. 345

Bibliography . ..................................... 350

When this thesis was undertaken in March of 1955

encourage a personal interview about his life and work.

However, the following letter received from the composer

dated March 28 of that year destroyed all hope of immediate

'Capricorn' Mount Kisco, New York

March 28, 1955

Mr. Russell E. Friedewald

Dear Mr. Friedewald:

I am of course honored that you wish to devote

Very sincerely yours,

/s/ Samuel Barber

corroborate the material presented in Nathan Broder's book,

Samuel Barber. 1 Because little or no additional information

can be gathered at this time, only a brief sketch outlining

the composer's career is included here; the information is

compiled from Broder's book.

Bom West Chester, Pennsylvania, March 9 1910

Charter student at the Curtis Institute of Music,

Piano: George Boyle, Isabelle Vengerova

B e a m s Prize awarded for violin sonata

First trip abroad 1928

Left Curtis Institute 1933

Pulitzer Prize awarded for Sonata for Cello and

1. Nathan Broder, Samuel Barber (New York: G, Schirmer,

Prix de Rome (second time) awarded for Symphony in

Went to Italy 1936

Taught at the Curtis Institute 1939-42

Inducted into the Army 19^3

Released from the Army 1945

Settled in Mount Kisco, New York, his present

Samuel Barber's music is frequently performed by

leading orchestras and artists, both in this country and

abroad, thus exerting a strong influence on contemporary

musical thought. While his position in the present day

musical scene is difficult to assess with any certainty,

indeed, it being questionable that such an assessment is

desirable, his serious approach to the art of music, his

prodigious technique, and his record of work and achievement

merit careful study; such a study is the primary purpose of

Because the composer is active at this time in

the practice of his art, no survey of his music can be