20th century
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Barber Samuel
Aitken, Robert
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Canzone for Flute and Piano (Op. 38)
Canzone for Flute and Piano (Op. 38)
S. Barber: Canzone for Flute and Piano originally was written in 1958 as Elegy for Flute and dedicated to a friend, German art student and amateur flutist Manfred Ibel while spending summer together in Martha's Vineyard, an island located south of Cape Cod in Massachusetts. In 1962, when Barber was commissioned a Piano concerto for the opening of Lincoln Center in New York, he adapted Elegy music material for the second movement Canzone of his Piano concerto. Nevertheless, this work had been published as Canzone (Elegy) for Flute and Piano (Op 38a) in 1962.
Barber Samuel
Samuel Barber (1910-1981) was one of the most celebrated American composers of the 20th century.
Born in West Chester, Pennsylvania, to a comfortable and cultured family. His aunt was the famous Metropolitan Opera contralto Louise Homer, and his uncle was the composer Sidney Homer. This operatic influence deeply informed Barber's focus on "singing" melodic lines in his instrumental music.
He began piano at age six and composed his first musical at age seven. At age nine, he famously wrote a note to his mother stating, "I was meant to be a composer and will be I’m sure... Don't ask me to try to forget this unpleasant subject."
In 1924, at age 14, he became one of the charter students at the newly founded Curtis Institute of Music in Philadelphia. There, he studied piano, voice (he was a talented baritone), and composition. It was also at Curtis where he met his lifelong partner and fellow composer, Gian Carlo Menotti.
In 1935, he became the first person to win the American Prix de Rome and a Pulitzer traveling scholarship in the same year. In 1938, Arturo Toscanini conducted the premiere of the Adagio for Strings with the NBC Symphony Orchestra. It became an instant global masterpiece, eventually used as the definitive music for national mourning.
Overall, he won two Pulitzer Prizes for Music: the first in 1958 for his opera Vanessa and the second in 1963 for his Piano Concerto.
While his contemporaries explored atonality and serialism, Barber remained committed to tonal, melodic, and expressive music. He once stated that he simply wrote "as he felt," ignoring the pressure to be "modern" for the sake of fashion. His deep understanding of the human voice led to some of the greatest American vocal works, including Knoxville: Summer of 1915 and Hermit Songs.
His most significant contribution to flute repertoire is "Canzone" (1962), which he transcribed from the second movement of his Piano Concerto at the request of his publisher, G. Schirmer.