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Nocturne in e flat major pdf12/5/2023 While Barber composed a significant body of purely instrumental music, two-thirds of his compositional output was art songs for voice and piano, choral music, and songs for voice and orchestra. Many of his compositions were commissioned or first performed by such noted groups and artists as the Boston Symphony Orchestra, the Philadelphia Orchestra, the New York Philharmonic, the Metropolitan Opera, Vladimir Horowitz, Eleanor Steber, Raya Garbousova, John Browning, Leontyne Price, Pierre Bernac, Francis Poulenc, and Dietrich Fischer-Dieskau. At the time of Barber's death, nearly all of his compositions had been recorded. Also widely performed is his Knoxville: Summer of 1915 (1947), a setting for soprano and orchestra of a prose text by James Agee. He received the Pulitzer Prize for Music twice: for his opera Vanessa (1956–57), and for the Concerto for Piano and Orchestra (1962). In particular, his Adagio for Strings (1936) has earned a permanent place in the orchestral concert repertory, as has that work's adaptation for chorus, Agnus Dei (1967). His works became successful on the international stage and many of his compositions enjoyed rapid adoption into the classical performance canon. However, he adopted elements of modernism after 1940 in some of his compositions, such as an increased use of dissonance and chromaticism in the Cello Concerto (1945) and Medea's Dance of Vengeance (1955) and the use of tonal ambiguity and a narrow use of serialism in his Piano Sonata (1949), Prayers of Kierkegaard (1954), and Nocturne (1959).īarber was adept at both instrumental and vocal music. The music critic Donal Henahan said, "Probably no other American composer has ever enjoyed such early, such persistent and such long-lasting acclaim." Principally influenced by nine years' composition studies with Rosario Scalero at the Curtis Institute and more than 25 years' study with his uncle, the composer Sidney Homer, Barber's music usually eschewed the experimental trends of musical modernism in favor of traditional 19th-century harmonic language and formal structure embracing lyricism and emotional expression. Samuel Osmond Barber II (Ma– January 23, 1981) was an American composer, pianist, conductor, baritone, and music educator, and one of the most celebrated composers of the 20th century.
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