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Playlist of Samuel Barber

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  • Samuel Barber - Adagio for Strings

    8:02

    Adagio for Strings by Samuel Barber.

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  • Samuel Barber - Agnus Dei HD

    8:41

    Please avoid posting comments about Samuel Barber's sexuality and enjoy the music! Any hateful comments will be removed.

    Composer: Samuel Barber (1910-1981)
    Performed here by: The Dale Warland Singers
    _________________

    About this song:

    Samuel Barber rejected many arrangements, of Adagio for Strings, published by G. Schirmer, such as the organ arrangement by William Strickland. However he did transcribe the piece in 1967 for eight-part choir, as a setting of the Agnus Dei (Lamb of God).

    Adagio for Strings (the string version of this piece) can be heard on many film, TV, and video game soundtracks, including Oliver Stone's Oscar-winning film Platoon, David Lynch's 1980 Oscar-nominated film The Elephant Man, Michael Moore's documentary Sicko, Swimming Upstream, Lorenzo's Oil, A Very Natural Thing, Reconstruction, and Jean-Pierre Jeunet's Oscar-nominated 2001 film Amélie. It has been heard in episodes of The Simpsons, Big Brother 2010 (UK), That Mitchell and Webb Look, The Boondocks, South Park, How I Met Your Mother, Seinfeld, ER (TV series), Red Dwarf, Big Love, and Mystery Science Theater 3000. A recorded performance by the London Symphony Orchestra was, for a time, the highest selling classical piece on iTunes. This choral version, Agnus Dei, can be heard in the soundtrack to the PC video game Homeworld (released in 1999, awarded with the Game of the Year accolade from the PC Gamer magazine). The work is extremely popular in the electronic dance music genre, notably in trance. Artists who have covered it include Armin van Buuren, William Orbit, Ferry Corsten, and Tiësto. eRa included this song in their new album Classics. Adagio is the final song on the final collaborative Peter, Paul and Mary album Peter Paul and Mary, With Symphony Orchestra. Mary Travers had requested that Adagio be played at her memorial service. It was also played at the Royal Albert Concert Hall on the 15th September 2001 in memorial of the attacks on America that shook the world four days beforehand.

    About the photograph:

    Saint Paul's Cathedral, London, during the Blitz. This cathedral has survived despite being targeted during the Blitz - it was struck by bombs on 10 October 1940 and 17 April 1941. On 12 September 1940 a time-delayed bomb that had struck the cathedral was successfully defused and removed by a bomb disposal detachment of Royal Engineers under the command of Temporary Lieutenant Robert Davies. Had this bomb detonated, it would have totally destroyed the cathedral, as it left a 100-foot (30 m) crater when it was later remotely detonated in a secure location. As a result of this action, Davies was awarded the George Cross, along with Sapper George Cameron Wylie.

    On 29 December 1940, the cathedral had another close call when an incendiary bomb became lodged in the lead shell of the dome but fell outwards onto the Stone Gallery and was put out before it could ignite the dome timbers. One of the most iconic images of London during the war was a photograph of St Paul's taken the same day by photographer Herbert Mason (in this video), from the roof of the Daily Mail in Tudor Street showing the cathedral shrouded in smoke.

    Lisa Jardine of Queen Mary, University of London has written:
    Wreathed in billowing smoke, amidst the chaos and destruction of war, the pale dome stands proud and glorious - indomitable. At the height of that air-raid, Sir Winston Churchill telephoned the Guildhall to insist that all fire-fighting resources be directed at St Paul's. The cathedral must be saved, he said, damage to the fabric would sap the morale of the country.

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  • Agnus Dei - Samuel Barber LIVE

    7:37

    Vlaams Radiokoor
    Marcus Creed, conductor
    Recorded at Studio4, Flagey (Brussels) 2015
    Available now on Spotify:

  • Nocturne - Four Songs IV - Samuel Barber - Lisette Oropesa

    3:28

    Nocturne - Four Songs IV
    Samuel Barber

    Buy the Album on iTunes!


    Listen on Spotify!


    Performed by Lisette Oropesa, Soprano and Vlad Iftinca, Piano
    March 11th 2017
    Vocal Arts DC
    Theatre of the Arts at the University of DC

    Recorded by Arts Laureate
    Dress provided by Austin Scarlett


    TEXT:
    -----
    Four Songs, Op. 13: IV. Nocturne
    Text by Frederic Prokosch


    Nocturne
    Close my darling both your eyes,
    Let your arms lie still at last.
    Calm the lake of falsehood lies
    And the wind of lust has passed,
    Waves across these hopeless sands
    Fill my heart and end my day,
    Underneath your moving hands
    All my aching flows away.

    Even the human pyramids
    Blaze with such a longing now:
    Close, my love, your trembling lids,
    Let the midnight heal your brow,
    Northward flames Orion's horn,
    Westward th' Egyptian light.
    None to watch us, none to warn
    But the blind eternal night.
    -----


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  • Samuel Barber-Violin Concerto Op. 14

    22:47

    Isaac Stern: violin-New York Philharmonic-Leonard Bernstein: conductor-964-Allegro-Andante-Presto in moto

  • Barber: Agnus Dei

    7:42

    Provided to YouTube by Universal Music Group

    Barber: Agnus Dei · Voces8

    Enchanted Isle

    ℗ 2019 Decca Music Group Limited

    Released on: 2019-01-18

    Associated Performer, Soprano: Andrea Halsey
    Associated Performer, Soprano: Eleonore Cockerham
    Associated Performer, Alto: Katie Jeffries-Harris
    Associated Performer, Counter- Tenor: Barnaby Smith
    Associated Performer, Tenor: Samuel Dressel
    Associated Performer, Tenor: Blake Morgan
    Associated Performer, Baritone: Christopher Moore
    Associated Performer, Bass: Jonathan Pacey
    Producer: Adrian Peacock
    Studio Personnel, Balance Engineer: David Hinitt
    Composer: Samuel Barber
    Author: Traditional

    Auto-generated by YouTube.

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  • Samuel Barber - Piano Sonata With score

    18:54

    -Composer: Samuel Osborne Barber II (March 9, 1910 – January 23, 1981)
    -Performer: John Browning

    Sonata for piano in E-flat minor, Op. 26, written in 1949

    00:07 - I. Allegro energico
    06:56 - II. Allegro vivace e leggero
    08:56 - III. Adagio mesto
    14:21 - IV. Fuga. Allegro con spirito

    Samuel Barber's Piano Sonata (1947-1949) was hailed upon its premiere as a masterpiece of American musical literature and the newest landmark work for the piano. The instant importance of the work was highlighted by its having been first performed by the internationally known pianist Vladimir Horowitz; Barber's sonata was the first large-scale American piano work to be premiered by such a prestigious figure. Horowitz himself pronounced the sonata the first truly great native work in the form.

    The piece was commissioned in the fall of 1947 by Irving Berlin and Richard Rodgers to commemorate the 25th anniversary of the League of Composers. Barber set to work almost immediately and finished the first movement quickly, despite multiple projects that occupied his energies. Soon these other engagements drew Barber away from the sonata, and work stalled. The second movement was not completed until eight months later, with the third finished soon after. Barber originally had a three-movement sonata in mind, but Horowitz convinced him that the piece needed a very flashy last movement. This last movement caused Barber much frustration. After months with no progress, Horowitz telephoned Barber and, hoping to inspire him, called him a constipated composer. Barber became angry and wrote the entire fourth movement the next day. This was in June 1949, nearly two years after the work was commissioned.

    This piece was composed in the middle of Barber's long career, during which much of his music fused his lyrical, elongated melodic style with new compositional devices. The sonata has levels of chromaticism and dissonance not approached in earlier works. There is even some use of 12-tone techniques in the first three movements, significant because of prior criticism that Barber's music represented a throwback to the Romantic period.

    Barber chose to set all movements in conventional forms; the first is cast in sonata form. This movement is fast-moving and energetic. A noticeable aspect is the contrast heard between sections with fragmented, dotted rhythms and sections characterized by sweeping, lyrical melodies and smooth accompaniment. The second movement is a nimble and delicate scherzo, set in rondo form. The third movement, languorous and expressive, is the most demonstrative of Barber's encounter with the innovations of the early twentieth century. Chromaticism and melodies using all 12 tones are abundant. A four-voice fugue, formally similar to those of Bach (much loved by Barber) serves as the finale. Though conventional in structure, this movement also contains complicated syncopated rhythms and jazz harmonies.
    [allmusic.com]

  • Samuel Barber - Prayers of Kierkegaard, Op. 30

    18:03

    Samuel Osborne Barber II (March 9, 1910 – January 23, 1981) was an American composer of orchestral, opera, choral, and piano music. He is one of the most celebrated composers of the 20th century: music critic Donal Henahan stated that Probably no other American composer has ever enjoyed such early, such persistent and such long-lasting acclaim.

    Prayers of Kierkegaard, for soprano, alto and tenor ad lib, chorus & orchestra, Op. 30

    1. O Thou Who art unchangeable (0:00)
    2. Lord Jesus Christ, Who suffered all life long (4:43)
    3. Father in Heaven, well we know that is Thou (7:39)
    4. Father in Heaven! hold not our sins up against us (12:27)

    Carmen Pelton, soprano
    Nannette Soles, mezzo-soprano
    Richard Clement, tenor
    Atlanta Symphony and Chorus conducted by Robert Shaw

    Description by Chris Boyes [-]
    Samuel Barber's Prayers of Kierkegaard (1954) is a one-movement cantata written for orchestra, mixed chorus, soprano solo, with incidental tenor and contralto solos. The text for the piece is taken from the written prayers and sermons of the Danish theologian, Soren Kierkegaard. Barber, commenting on Kierkegaard, regarded him as a major literary figure and an exciting but enigmatic intellectual force. Kierkegaard extolled the idea that each individual, through their personal relationship with God, should discover their true identity and existence.

    Barber had many motivating factors leading him to the composition of this religious work. In December 1950, Barber was in Rome to witness a performance of Menotti's Piano Concerto. On Christmas Eve, the composer visited a small church and heard a performance of a Gregorian Mass by about 60 Benedictine monks. Barber adored the simplicity and sincere style of the music, which carries over into the music of Prayers of Kierkegaard. Also, Barber's interest in the solitary life of the monastery can be seen in this work, which directly followed his Hermit Songs (1953), a work based on poems written by ancient monks. The religious theme of the composition was also important at this point in Barber's life, as he was questioning his own faith. Another factor contributing to the serious nature of the piece was the nearness to death of Sidney Homer, Barber's uncle and artistic mentor.

    This work had actually been commissioned 12 years previous to its composition in 1942 by the Koussevitzky Music Foundation. Sergey Koussevitzky, longtime conductor of the Boston Symphony Orchestra, created this foundation, in memory of his late wife, to commission new works annually. Barber's piece would be dedicated to the memory of Sergey and Natalie Koussevitzky. Barber did not begin composition on the piece until May 1953, completing it in January of the following year. Prayers of Kierkegaard was first performed on December 3, 1954, at Symphony Hall by the Boston Symphony Orchestra under the direction of Charles Münch. Leontyne Price, having just performed Hermit Songs for Barber, was chosen as the soprano soloist. Barber was not happy with this opening performance, nor was he pleased with the following performance of the piece, in New York City. Only at a later presentation of the work at a festival in Vienna, did the composer hear his music aptly performed.

    This work is admirable in that the composer has successfully melded aspects of medieval music into his usual blend of lush, Romantic sound and twentieth-century musical tendencies. The one-movement piece is approximately 20 minutes in length. Prayers of Kierkegaard can be divided into four contrasting sections. The first section opens with an original, unaccompanied incantation for male chorus. The chant is written in the Dorian mode, often used in medieval liturgy. This work powerfully represents the somber subject matter addressed. Prayers of Kierkegaard appropriately ends in tranquility through a chorale featuring the entire performing force of soloists, orchestra, and full chorus.

  • 30min Loop of Barber - Adagio for Strings

    30:02

    Loop from Samuel Barber's Adagio for Strings, transposed via software to the 432Hz tunning. Performed by The New York Philharmonic, conducted by Leonard Bernstein.

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    “If you want to find the secrets of the universe, think in terms of energy, frequency and vibration.”
    - Nikola Tesla

    “The highest goal of music is to connect one’s soul to their Divine Nature, not entertainment”
    - Pythagoras (569- 475 BC)

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  • HAUSER - Adagio for Strings

    8:05



    From the debut album CLASSIC
    HAUSER performing Adagio for Strings by Samuel Barber

    Filmed by Medvid production

    Museum of Fine Arts, Budapest

  • Samuel Barber: Adagio for Strings - 1 HOUR Healthy Music

    1:1:48

    Adagio for Strings by Samuel Barber.

    You might wonder why this music should be healthy. But it really is. Scientists found out that Adagio reduces our blood pressure, decreases our heart rate and even decreases our cortisol, which is also known as stress hormone.

    First of all, you might think this music is very sad or melancholy, what it is, but the scientists found out that this sad music triggers positive emotions. So, in fact, it is sentimental music, which makes you happier!

    While listening to this music you get nostalgic, you think about old times, think about memories. Moreover, sad music helps you to handle complex situations in your life. You got a bad grade in school? No, problem. Listen to Adagio and you will come along with it! We are all just humans! Sometimes we are happy, sometimes we are sad. If you are sad, listen to melancholy music!

    You can find the study here:

    I just love to listen to this music. I feel super relaxed afterwards, I can concentrate way better and I also feel healthier.

    So listen to this wonderful music and have fun!

    Adagio for Strings is a work by Samuel Barber, arguably his best known, arranged for string orchestra from the second movement of his String Quartet, Op. 11.

    Barber finished the arrangement in 1936, the same year that he wrote the quartet. It was performed for the first time on November 5, 1938, by Arturo Toscanini conducting the NBC Symphony Orchestra in a radio broadcast from NBC Studio 8H. Toscanini also played the piece on his South American tour with the NBC Symphony in 1940.

    Its reception was generally positive, with Alexander J. Morin writing that Adagio for Strings is full of pathos and cathartic passion and that it rarely leaves a dry eye. The music is the setting for Barber's 1967 choral arrangement of Agnus Dei. Adagio for Strings has been featured in many TV shows and movies.

    Barber's Adagio for Strings was originally the second movement of his String Quartet, Op. 11, composed in 1936 while he was spending a summer in Europe with his partner Gian Carlo Menotti, an Italian composer who was a fellow student at the Curtis Institute of Music. He was inspired by Virgil's Georgics. In the quartet, the Adagio follows a violently contrasting first movement (Molto allegro e appassionato) and is succeeded by music that opens with a brief reprise of the music from the first movement (marked Molto allegro (come prima) – Presto).

    In January 1938, Barber sent an orchestrated version of the Adagio for Strings to Arturo Toscanini. The conductor returned the score without comment, which annoyed Barber. Toscanini sent word through Menotti that he was planning to perform the piece and had returned it simply because he had already memorized it. It was reported that Toscanini did not look at the music again until the day before the premiere. On November 5, 1938, a selected audience was invited to Studio 8H in Rockefeller Center to watch Toscanini conduct the first performance; it was broadcast on radio and also recorded. Initially, the critical reception was positive, as seen in the review by The New York Times's Olin Downes. Downes praised the piece, but he was reproached by other critics who claimed that he overrated it.

    Toscanini conducted Adagio for Strings in South America and Europe, the first performances of the work on both continents. Over April 16–19, 1942, the piece had public performances by the Philadelphia Orchestra conducted by Eugene Ormandy at Carnegie Hall. Like the original 1938 performance, these were broadcast on radio and recorded.

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  • Samuel Barber: Knoxville, Summer of 1915 • Kaleidoscope Chamber Orchestra - Maria Valdes, soprano

    16:44



    November 6, 2016
    First Presbyterian Church in Santa Monica

    Violin I
    Caroline Ewan - concertmaster
    Camille Miller
    Aya Kiyonaga
    Nicole Sauder
    Alex Granger

    Violin II
    Jackie Suzuki - principal
    Sarah Chung
    Elba Palomo
    Jakub Hlavka
    Chiai Tajima

    Viola
    Evan Hesketh - principal
    Taichiroh Kanauchi
    Cassie Drake
    Michael Chang

    Mia Barcia-Colombo - principal
    Jonathan Flaksman
    Clement Chow

    Bass
    Brianna Goldberg - principal
    Levi Jones

    Flute + piccolo
    Sara Andon

    Oboe + English Horn
    Robert Walker

    Clarinet
    Benjamin Mitchell

    Bassoon
    Nick Akdag

    Horn
    David Cripps - principal
    Melia Badalian

    Trumpet
    Jean Laurenz

    Triangle
    Beth Kosko

  • Adagio for Strings

    9:05

    Adagio for Strings by Samuel Barber, enjoy!
    This video combines the beautiful Adagio for Strings with an awe-inspiring slideshow.

    This performance is NOT by the New Zealand Symphony Orchestra & Andrew Schenck. It is by the London Philharmonic Orchestra.

    UpLift is available at

    Pictures from:

  • Samuel Barber - Adagio for Strings Op. 11 Theme from Platoon, conducted by Andrzej Kucybał

    9:09

    3rd Polish Nationwide Music Schools' Symphonic Orchestras Competition
    Andrzej Kucybała - conductor,
    Stanisław Moniuszko School of Music Symphony Orchestra in Bielsko Biała, Poland
    recorded at Stanisław Moniuszko School of Music Concert Hall, June 01, 2015
    #Barber #Platoon #AndrzejKucybała

  • Summer Music for Wind Quintet, Op. 31

    11:39

    Provided to YouTube by Sony Music Entertainment

    Summer Music for Wind Quintet, Op. 31 · Ensemble Wien-Berlin · Samuel Barber

    20th Century Wind Music

    ℗ 1992 Sony Music Entertainment

    Released on: 1992-08-31

    Auto-generated by YouTube.

  • Barber - AGNUS DEI

    8:18

    Agnus Dei (arr. Adagio for Strings)
    Samuel Barber (1910-1981)
    ROTTERDAM SYMPHONY CHORUS
    Wiecher Mandemaker - conductor

    Live performance during Bosch Requiem 2015 in Sint-Janskathedraal, 's-Hertogenbosch, The Netherlands, 6 November 2015.

    The concert was part of a tour with the BBC Symphony Orchestra.
    Also check out the video with the live recording of Herbert Howells' Hymnus Paradisi:


    Video production: Castus

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    ABOUT US
    Rotterdam Symphony Chorus, Laurens Collegium Rotterdam and the Laurenscantorij are part of the Laurenscantorij Foundation.

    The Rotterdam Symphony Chorus and the Laurens Collegium Rotterdam & are the Netherlands’ youngest professional choirs and are characterized by their versatile and enthusiastic high quality performances.

    The Laurenscantorij is a young, semi professional choir, chathedral choir of the Laurenskerk, Rotterdam, The Netherlands. Founded in 1966, it has established a tradition for the performance of Bach works and many other compositions from the 16th to the 21st century.

    Art director and conductor: Wiecher Mandemaker

    All choirs collaborate with leading orchestras and conductors from home and abroad.
    They did several CD, radio and television recordings.

  • Vienna Philharmonic - Barber: Adagio for Strings, Op.11

    9:02

    Sony Classical is proud to release Samuel Barber’s Adagio for Strings, Op. 11 from the Summer Night Concert 2019. The Vienna Philharmonic is conducted by Gustavo Dudamel with pianist Yuja Wang as soloist.

    ► Listen & purchase the album here:

    The Summer Night Concert was performed on June 20th, 2019. It is an annual open-air event, which has been held since 2008. The park of Schönbrunn Palace in Vienna/Austria is the magical setting for the concert, which is free of charge for all residents and visitors of the city. Central to the programme of the Vienna Philharmonic’s 2019 Summer Night Concert was a musical history of the United States of America: the works that were heard in the 2019 set are composed in or for the USA, while also constituting links with the Viennese musical tradition.

    Album release: 5 Jul. 2019

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    © 2019 Sony Classical, a division of Sony Music Entertainment.

    #ViennaPhilharmonic #SummerNightConcert #BarberAdagio

  • 弦楽のためのアダージョ / Adagio for Strings Op.11 / Samuel Barber

    9:43

    弦楽のためのアダージョ
    サミュエル・バーバー
    Adagio for Strings OP.11/
    Samuel Barber

  • Samuel Barber Piano concerto Op.38, John Browning, Complete

    25:51

    Samuel Barber Piano concerto Op.38, Complete

    1. Allegro appassionato
    2. Canzone: moderato
    3. Allegro molto

    John Browning Piano
    Cleveland Orchestra
    George Szell Conductor

  • Amstel Quartet - Samuel Barber/ Adagio for strings

    7:07

    Remko Jak - sopraansax, Olivier Sliepen, altsax, Bas Apswoude - tenorsax, Ties Mellema - baritonsax

    Amstel Quartet performs Adagio for strings composed by Samuel Barber and arranged by Johan van der Linden

    This video was recorded in Bimhuis Amsterdam for VPRO Vrije Geluiden

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  • Samuel Barber, Canzone for Flute and Piano - Mimi Stillman, flute and Charles Abramovic, piano

    4:16

    Dolce Suono Ensemble Presents
    From concert Samuel Barber at 100: The Composer and His World

    First Unitarian Church, Philadelphia
    February 2010



  • Samuel Barber - Sure On This Shining Night arr. for Choir & Piano

    2:36

    Samuel Osborne Barber II (March 9, 1910 – January 23, 1981) was an American composer of orchestral, opera, choral, and piano music. He is one of the most celebrated composers of the 20th century: music critic Donal Henahan stated that Probably no other American composer has ever enjoyed such early, such persistent and such long-lasting acclaim.

    Sure on this Shining Night arr. for chorus, Op. 33, No. 3 (1940)
    Librettist: James Agee

    The Joyful Company of Singers conducted by Peter Broadbent
    Anthony Saunders, piano

    Description in Library of Congress
    Sure on this Shining Night is the third song in the collection entitled Four Songs which was published by G. Schirmer in 1940. Unlike his earlier collection of Three Songs, op. 10, in which all three songs are set to poetry by James Joyce, Barber's Four Songs, op. 13 features the texts of four different poets. The text for Sure on this Shining Night was based on an untitled lyric from James Agee's first published collection of poems, Permit Me Voyage (1934). Barber eventually met and formed a lasting friendship with the Pulitzer Prize-winning writer, but it was not until after he set Agee's Knoxville: Summer of 1915 in 1948.

    The brilliance of Sure on this Shining Night lies in its long, seamlessly lyrical canonical lines, initiated by the voice and followed immediately by the piano. The song's structure resembles that of songs crafted by 19th-century masters such as Johannes Brahms and Robert Schumann, especially in the dexterous use of canonic principals (in which Brahms excelled) and in the use of the pulsating chordal-style accompaniment, as found in Schmann's Ich grolle nicht (from Dichterliebe, 1840). Sure on this Shining Night has also been used by voice teachers, including Marinka Gurewich, to instruct singers in the art of producing a pianissimo cantilena vocal line.

    No doubt the popularity of Sure on the Shining Night was amplified by Barber's frequent retelling of an anecdote that directly involved the song. In 1979, Barber had just moved into a new apartment in New York City and needed to call home. He was trying to reach Gian Carlo Menotti, whom he knew was visiting the apartment. However, upon trying to dial the number from the telephone booth, Barber realized that he could not recall the newly established phone number. The composer contacted the operator for assistance who initially refused to provide Barber with the number, but confessed that she possessed a weakness for Sure on this Shining Night and requested that Barber sing the song's opening phrase to confirm his identity. Barber complied and was rewarded with his telephone number!

    Anecdotes aside, Barber must have appreciated the song's warm reception for nearly thirty years later he arranged Sure on this Shining Night (along with A Nun Takes the Veil, also from Four Songs, op. 13) for chorus. The arrangements were extremely popular and sold over a hundred thousand copies. To date, Sure on this Shining Night remains a favorite among solo singers and choral ensembles alike.

  • Barber: Adagio for Strings, Original Version, Dover Quartet

    8:03

    The Dover Quartet plays the masterpiece by Samuel Barber in its original form, from the composer's String Quartet Op. 11. The piece is primarily known in its version for string orchestra, which is also incredibly powerful- the quartet version, however, lends a sense of intimacy and vulnerability to the work that is truly unique.

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    Website: doverquartet.com

  • Samuel Barber - Adagio For Strings

    10:27

    2019 Magdelayna Music.
    Written & Composed by Samuel Barber.
    Production & Remix by Adam Rodziewicz.
    Available for download on Soundcloud.

  • Samuel Barber: Symphony No. 2 Flight Symphony

    29:03

    Detroit Symphony conducted by/Sinfónica de Detrioit dirigida por Neeme Järvi.

    I. Allegro ma non troppo (0:00)
    II. Andante, un poco mosso (12:18)
    III. Presto, Senza battuto – Allegro risoluto (20:05)

    Samuel Barber wrote his Symphony No. 2 during four months across 1942 and 1943 and dedicated it to the American Air Force. However, he withdrew the score and destroyed almost all its traces during the 1960’s. Nonetheless, some of it was rescued and restored as it presently exists.

    Samuel Barber compuso su Sinfonía No. 2 durante 4 meses entre 1942 y 1943 y la dedicó a la Fuerza Aérea Estadounidense. No obstante, retiró la partitura de circulación y destruyó casi todas las copias en los años 60. Sin embargo, algunas partes fueron rescatadas y restauradas a como existe hoy.

    More info/más información:

    Image/imagen: P 51 Mustangs & B-17s. Unknown/desconocido. ca.1988

  • Samuel Barber - Agnus Dei

    7:34

    Samuel Barber - Agnus Dei (Adagio for Strings).
    Magnique musique classique avec choeurs sublimes... La voix des anges! ─ Beautiful classical music with sublime vocals... The voice of angels!

    Agnus Dei, Op. 11 de Johannes Hiemetsberger & Chorus Sine Nomine

  • Samuel Barber - Cello Concerto score+audio

    29:20

    Now you can really see just how hard it is!
    Composer: Samuel Barber (1910-1981)
    Cellist: Wendy Warner
    Orchestra: Royal Scottish National Orchestra - Marin Alsop

    00:00 I. Allegro moderato (07:52 cadenza)
    12:50 II. Andante sostenuto
    20:09 III. Molto allegro e appassionato

    *I do not own this copyrighted content. I have only compiled the sheet music and audio for education purposes*

    Support the artist, buy the recording:

    Sheet music:

    Wikipedia: Samuel Barber's Concerto for Violoncello and Orchestra in A minor,[citation needed] Op. 22, completed on 27 November 1945 (Heyman 1992, 252), was the second of his three concertos (the first being his Violin Concerto and the third his Piano Concerto). Barber was commissioned to write his cello concerto for Raya Garbousova, an expatriate Russian cellist, by Serge Koussevitzky on behalf of Garbusova and the Boston Symphony Orchestra. Funds for the commission were supplied, however, by John Nicholas Brown, an amateur cellist and a trustee of the Boston Symphony Orchestra (Heyman 1992, 248). The score is dedicated to John and Anne Brown (Barber 1952, 1). Barber was still on active duty with the U. S. Army at the time he received the commission, and before beginning work asked Garbousova to play through her repertoire for him so that he could understand her particular performing style and the resources of the instrument (Heyman 1992, 249). Garbousova premiered it with the Boston Symphony Orchestra in Symphony Hall, Boston, on 5 April 1946, followed by New York performances at the Brooklyn Academy of Music on 12 and 13 April (Heyman 1992, 252). The concerto won Barber the New York Music Critics' Circle Award in 1947 (Heyman 1992, 257).

    The work has remained obscure and performances are scarce, largely because of its extreme technical demands, but also because the heavy editing of the solo part by Garbousova hinders individual interpretation (Davies 1999, 34).

  • Samuel Barber Bessie Bobtail

    3:33

    10 Selected Songs, High Voice (G. Schirmer, Inc., Sheet Music Book)
    Composed by Samuel Barber
    For more information and to purchase, please visit:

    Includes the first ever publication and recording of two early songs: “Mother, I cannot mind my wheel,” and “Hey nonny no!” These songs were chosen as being especially useful for student singers. Also includes the little known “Slumber Song of the Madonna” and “Strings in the earth and the air,” both published in Barber: Ten Early Songs (50482014). The lovely recorded performances will help teachers and students to become familiar with these songs. Other songs: Bessie Bobtail • The Crucifixion • The Daisies • The Secrets of the Old • Sure on this shining night • With rue my heart is laden. The audio recordings are accessed online using the unique code within each book and can be downloaded or streamed according to personal preference.

  • Samuel Barber Sure on this shining night

    2:36

    10 Selected Songs, Low Voice (G. Schirmer, Inc., Sheet Music Book)
    Composed by Samuel Barber
    For more information and to purchase, please visit:

    Includes the first ever publication and recording of two early songs: “Mother, I cannot mind my wheel,” and “Hey nonny no!” These songs were chosen as being especially useful for student singers. Also includes the little known “Slumber Song of the Madonna” and “Strings in the earth and the air,” both published in Barber: Ten Early Songs (50482014). The lovely recorded performances will help teachers and students to become familiar with these songs. Other songs: Bessie Bobtail • The Crucifixion • The Daisies • The Secrets of the Old • Sure on this shining night • With rue my heart is laden. The audio recordings are accessed online using the unique code within each book and can be downloaded or streamed according to personal preference.

  • Samuel Barber / Medea , Op. 23

    25:06

    Samuel Barber (1910-1981)

    Medea (The Cave of the Heart), Ballet Suite, Op. 23 (1946)

    00:00 - Parodos
    02:29 - Choros. Medea and Jason
    06:29 - The Young Princess. Jason
    09:32 - Choros
    12:42 - Medea
    19:02 - Kantikos Agonias
    21:59 - Exodos

    Performed by the Eastman-Rochester Orchestra under the direction of Howard Hanson. Recorded by Mercury in 1959.

    'Medea' was written for Martha Graham on a commission from the Alice M. Ditson Fund of Columbia University. It was first performed under the title 'The Serpent Heart' at Columbia's MacMillan Theater on May 10, 1946. Miss Graham later called it 'Cave of the Heart.' The music was first played as an orchestral suite by the Philadelphia Orchestra under Eugene Ormandy on December 5, 1947. A note in the score, published by G. Schirmer, indicates Barber's intentions and describes the individual movements with admirable succinctness: '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-mythological and the contemporary. Medea and Jason first appear as 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.

    'Besides 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 'Parodos' the characters first appear. The 'Choros,' lyric and reflective, comments 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 obsession 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.' - Nathan Broder

    Illustration: Medea (detail), Alphonse Mucha

  • Samuel Barber - Dover Beach, Op. 3 Fischer-Dieskau, Juilliard Quartet

    8:23

    This brooding song for baritone and string quartet, written in the days preceding World War II, might be taken as an attempt to warn, for it sets with almost miraculous appropriateness one of the grimmest poems of World War I. It is a marvel of lyricism, yet is mysteriously touching throughout. Incidentally, Barber was a well-trained singer and, singing this piece, became perhaps the only classical composer to sing one of his own works on a professional, major-label recording. ---All Music Guide



    Dover Beach

    The sea is calm to-night.
    The tide is full, the moon lies fair
    Upon the straits; on the French coast the light
    Gleams and is gone; the cliffs of England stand;
    Glimmering and vast, out in the tranquil bay.
    Come to the window, sweet is the night-air!
    Only, from the long line of spray
    Where the sea meets the moon-blanched land,
    Listen! you hear the grating roar
    Of pebbles which the waves draw back, and fling,
    At their return, up the high strand,
    Begin, and cease, and then again begin,
    With tremulous cadence slow, and bring
    The eternal note of sadness in.

    Sophocles long ago
    Heard it on the Aegean, and it brought
    Into his mind the turbid ebb and flow
    Of human misery; we
    Find also in the sound a thought,
    Hearing it by this distant northern sea.

    The Sea of Faith
    Was once, too, at the full, and round earth's shore
    Lay like the folds of a bright girdle furled.
    But now I only hear
    Its melancholy, long, withdrawing roar,
    Retreating, to the breath
    Of the night-wind, down the vast edges drear
    And naked shingles of the world.


    Ah, love, let us be true
    To one another! for the world, which seems
    To lie before us like a land of dreams,
    So various, so beautiful, so new,
    Hath really neither joy, nor love, nor light,
    Nor certitude, nor peace, nor help for pain;
    And we are here as on a darkling plain
    Swept with confused alarms of struggle and flight,
    Where ignorant armies clash by night.

    Matthew Arnold (1822-1888)


    Dietrich Fischer-Dieskau (baritone)
    Juilliard Quartet

  • BARBER Commando March - The Presidents Own U.S. Marine Band - Tour 2016

    3:35

    On October 17, 2016, The President's Own United States Marine Band performed Samuel Barber's Commando March at the Straz Center for the Performing Arts in Tampa, Fla., during its 2016 National Tour. Conducted by Capt. Ryan Nowlin.

    2016 Tour highlights playlist:
    About the 2016 tour:

  • Samuel Barber: Adagio for strings

    8:09

    Norwegian Chamber Orchestra
    Arvid Engegård, artistic director

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  • Samuel Barber Adagio per archi

    6:26

    Samuel Barber Adagio per archi

  • Samuel Barber - Ballade Op. 46

    7:14

    This was Barber's last completed piano work. In 1977, the organizers of the Van Cliburn competition asked him to provide a 'morceau de concourse' for that year's competition. He produced the seven-and-a-half-minute piece after almost a year. The work comprises three sections in lied form, the last section being a repeat of the first. Section A opens with a descending phrase which is repeated with changes. An ascending rush leads to the most recognizable theme, made up of three motives which depart from one chord and finally return to the same. The descending phrase leads the music to a gradual desintegration. Section B starts violently, and gets even more complex and stormy. A hint at the main theme of A leads to a tense pause, which is followed by the reprise of A.

    (AllMusic)

    Please take note that the audio AND sheet music ARE NOT mine. Feel free to change the video quality to a minimum of 480p for the best watching experience.

    Performer:
    Leon McCawley (Warner UK, 1997) (
    Original sheet music:
    (G. Schirmer, 1977)

  • Agnus Dei - HD

    8:01

  • Barber - Adagio for Strings

    7:53

    Jens Korndoerfer plays Samuel Barber's 'Adagio for Strings' arranged for the organ by William Strickland.



    Recorded live in concert at the Cathedral in Paderborn on June 22, 2018, on the three organs (total of IV/151) built by Siegfried Sauer (1979/81, enlarged 2004/05) and Anton Feith jr. (1948/52 and 1971).

  • Adagio for Strings - Samuel Barber - Berliner Philharmoniker

    8:43

    Adagio for Strings - Samuel Barber) - Berliner Philharmoniker Berliner Philharmoniker; Sir Simon Rattle
    Album - Samuel Barber - Adagio (100th Anniversary)
    Almost everyone knows this beautiful piece of music, but do you know how it is called or from whom it is? :-)
    something classical this time - because i could not find any upload with a video i like, so i made my own, with stunning, beautiful Pics (IMHO)- some are edited, others not
    I hope you like it too
    thank you for watching!!

    I do not own the music, i do not ow most of the pics

  • Samuel Barber - String Quartet in B minor, Op. 11 w/ score

    19:37

    performed by Quatuor Diotima -

    00:00 - I Molto allegro e appassionato
    08:33 - II Molto adagio [attacca]
    17:08 - III Molto allegro (come prima)

    The String Quartet in B minor, Op. 11 was written in 1935–36 by Samuel Barber. Barber arranged the middle movement for string orchestra as his well-known Adagio for Strings in 1936. Barber continued to revise the piece, particularly the finale, until 1943.

    Begun while living in Austria with his partner Gian Carlo Menotti after Barber's Prix de Rome, Barber intended that the quartet be premiered by the Curtis String Quartet, but did not finish the piece in time for their concert tour. On September 19, 1936, Barber wrote their cellist Orlando Cole: I have just finished the slow movement of my quartet today—it is a knockout! Now for a Finale. Having completed a finale, the string quartet was premiered in its provisional form by the Pro Arte Quartet on December 14, 1936, at the Villa Aurelia in Rome. Afterward Barber withdrew the finale so as to rewrite it, which he did by April 1937. He rewrote it again before it was published. The final form was premiered by the Budapest Quartet on May 28, 1943, at the Library of Congress in Washington, D.C.

    The opening movement is in sonata form, the second movement a famous adagio, and the final version of the finale, added to the second movement attacca, is shortened, lasting two-minutes, and revisits themes from the opening movement, thereby creating a cyclic form for the quartet. The opening movement has three theme areas, the first a dramatic motif stated in unison by all four instruments, the second slinky chorale like music, and the third a yearning lyrical melody. The quartet as a whole is in the key of B minor, however the central movement is in B♭ minor. The materials of the second movement consist of a very slow and extended melody built from stepwise intervals, slightly varied in its numerous repetitions, uncoiling over (or in the midst of) sustained chords that change with note-by-note reluctance, all of it building into a powerful climax at the high end of the instruments' range and then quickly receding to the contemplative quietude that ultimately defines this musical expanse.

    Barber accepted a commission for a second string quartet in 1947, but never got past a few pages of sketches.

    *the usage of copyrighted content is purely educational. I do not own the content that is borrowed for the making of this video*

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  • Samuel Barber: Medea

    28:15

    Piece: Medea (Cave of the Heart), op. 23 (1946)
    Composer: Samuel Barber (1910 - 1981)
    Conductor: Andrew Schenck
    Orchestra: The Atlantic Sinfonietta

    Medea, Op. 23, (1946) is a ballet in nine sections by American composer Samuel Barber. It was commissioned by the Ditson Fund of Columbia University for Martha Graham and was premiered on 10 May 1946, at Columbia University's McMillin Theater, New York City. It was originally called Serpent Heart, but the work was revised in 1947 and retitled Cave of the Heart. Costumes were designed by Edythe Gilfond and the set was created by Isamu Noguchi. The original cast list included Graham, Erick Hawkins, Yuriko, May O'Donnell, and other members of the Martha Graham Dance Company. Neither Barber nor Graham desired to use the legend literally in the ballet. Instead, 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 godlike, super-human figures of the Greek tragedy. As the tension and conflict between them increases, 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 resume 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.

    I. [0:00]
    II. [2:46]
    III. [5:09]
    IV. [9:40]
    V. [10:54]
    VI. [13:07]
    VII. [16:17]
    VIII. [22:55]
    IX. [25:12]

  • Samuel Barber. Symphony No. 1 SLSO. L.Slatkin.

    4:19

    Second movement, Allegro molto from the Symphony No. 1 by the american composer Samuel Barber (1910-1981) performed by the Saint Louis Symphony Orchestra conducted by Leonard Slatkin.
    Pictures by the american painter Thomas Hart Benton.

  • Samuel Barber : Prayers of Kierkegaard for mixed chorus, soprano and orchestra Op. 30

    17:24

    I. O Thou who art unchangeable
    II. Lord Jesus Christ, Who suffered all life long
    III. Father in Heaven, well we know that it is Thou
    IV. Father in Heaven! Hold not our sins up against us.
    Performed by Gloria Capone (soprano), the Chorus of the Southern Baptist Theological Seminary conducted by Jorge Mester.

  • StaffPad - Strings section comparison

    22:55

    Adagio for Strings by Samuel Barber.
    Adaptation for StaffPad.
    00:00 Berlin Strings
    04:07 Spitfire Symphonic Strings
    07:50 Spitfire Chamber Strings
    11:40 Cine Strings
    15:30 First Chairs
    19:22 Cine Strings Solo

    #StaffPad #SamuelBarberAdagio #STplaylist

  • Samuel Barber - Agnus Dei - Swara Lassenne Vocale

    10:14

    Samuel Barber - Agnus Dei (Adagio for Strings, Op. 11)

    Swara Lassenne Vocale - Belgium
    Ivan Yohan, conductor

    Still on the days of confinement, we are completing our virtual choir series with this masterpiece from Samuel Barber. It has been a challenge for everyone involved, so the result - though far from perfection - is a reward to me and my choir members. I hope you enjoy this video.

  • Robert Anderson - Samuel Barber Adagio for Strings - St. Marks Church, Shreveport, Louisiana

    9:13

    Robert Anderson performs Samuel Barber's Adagio for Strings on the 1959 Aeolian-Skinner, Opus 1308 at St. Mark's Church (now Cathedral), Shreveport, Louisiana, July 21, 1964, in this private recording from The John Beck Library, which is housed at the East Texas Pipe Organ Festival Headquarters in historic downtown Kilgore, Texas. Photography is by David Brown. For further information, visit

  • Samuel Barber - Adagio for Strings

    10:03

    Adagio for Strings for string ensemble, Op. 11a, by American composer Samuel Barber. (March 9, 1910 – January 23, 1981) (dedicated to his aunt and uncle, Louis and Sidney Homer -- year piece composed 1936)

    Adagio for Strings is a work by Samuel Barber, arguably his most well known, arranged for string orchestra from the second movement of his String Quartet, Op. 11. Barber finished the arrangement in 1936, the same year that he wrote the quartet. It was performed for the first time in 1938, in a radio broadcast from a New York studio attended by an invited audience, conducted by Arturo Toscanini, who also took the piece on tour to Europe and South America. Its reception was generally positive, with Alexander J. Morin writing that Adagio for Strings is full of pathos and cathartic passion and that it rarely leaves a dry eye. The music is the setting for Barber's 1967 choral arrangement of Agnus Dei. Adagio for Strings can be heard in many TV shows and movies.

    Adagio for Strings begins softly with a B-flat played by the first violins. The lower strings come in two beats after the violins, which, as Johanna Keller from The New York Times put it, creates an uneasy, shifting suspension as the melody begins a stepwise motion, like the hesitant climbing of stairs. NPR Music said that with a tense melodic line and taut harmonies, the composition is considered by many to be the most popular of all 20th-century orchestral works. Many recordings of the piece have a duration of about eight minutes.

    The Adagio is an example of arch form and builds on a melody that first ascends, then descends in stepwise fashion. Barber subtly manipulates the basic pulse throughout the work by constantly changing time signatures including 4/2, 5/2, 6/4, and 3/2. After four climactic chords and a long pause, the piece presents the opening theme again, and fades away on an unresolved dominant chord.

    Music critic Olin Downes wrote that the piece is very simple at climaxes, but reasoned that the simple chords create significance for the piece. Downes went on to say: That is because we have here honest music, by an honest musician, not striving for pretentious effect, not behaving as a writer would who, having a clear, short, popular word handy for his purpose, got the dictionary and fished out a long one.

    (Wikipedia)

    Please take note that the audio AND the sheet music ARE NOT mine. Change the quality to 480p if the video is blurry.

    Performance by: Los Angeles Symphonic Orchestra (?), conducted by Leonard Bernstein
    (original audio:

  • Samuel Barbers Hermit Songs part 1

    9:13

    First half of Samuel Barber's Hermit Songs
    1. At St. Patrick's Purgatory
    2. Church Bell at Night
    3. St. Ita's Vision
    4. The Heavenly Banquet
    5. The Crucifixion

  • Samuel Barber - Adagio para Cordas

    10:05

    Concerto da Orquestra de Câmara L'Estro Armonico realizado no Mosteiro de São Bento de São Paulo-SP em 22/10/2017. Regência Laércio Sinhorelli Diniz

  • Samuel Barber - Adagio for Strings, op. 11 by Leonard Bernstein

    10:11

    Samuel Barber's Adagio for Strings conducted by Leonard Bernstein

  • Samuel Barber - Adagio for Strings

    10:03

    Desiderata - Max Ehrmann
    Another inspirational poem set to music ;) if you like this check out my other vids, feel free to comment.

    Go placidly amid the noise and the haste,
    and remember what peace there may be in silence.

    As far as possible, without surrender,
    be on good terms with all persons.
    Speak your truth quietly and clearly;
    and listen to others,
    even to the dull and the ignorant;
    they too have their story.
    Avoid loud and aggressive persons;
    they are vexatious to the spirit.

    If you compare yourself with others,
    you may become vain or bitter,
    for always there will be greater and lesser persons than yourself.
    Enjoy your achievements as well as your plans.
    Keep interested in your own career, however humble;
    it is a real possession in the changing fortunes of time.

    Exercise caution in your business affairs,
    for the world is full of trickery.
    But let this not blind you to what virtue there is;
    many persons strive for high ideals,
    and everywhere life is full of heroism.
    Be yourself. Especially do not feign affection.
    Neither be cynical about love,
    for in the face of all aridity and disenchantment,
    it is as perennial as the grass.

    Take kindly the counsel of the years,
    gracefully surrendering the things of youth.
    Nurture strength of spirit to shield you in sudden misfortune.
    But do not distress yourself with dark imaginings.
    Many fears are born of fatigue and loneliness.

    Beyond a wholesome discipline,
    be gentle with yourself.
    You are a child of the universe
    no less than the trees and the stars;
    you have a right to be here.
    And whether or not it is clear to you,
    no doubt the universe is unfolding as it should.

    Therefore be at peace with God,
    whatever you conceive Him to be.
    And whatever your labors and aspirations,
    in the noisy confusion of life,
    keep peace in your soul.

    With all its sham, drudgery, and broken dreams,
    it is still a beautiful world.
    Be cheerful. Strive to be happy.

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