Barber, Samuel. (1910–1981). Collection of privately issued and limited edition recordings of Barber, some inscribed. Nineteen rare gramophone recordings, privately issued, some from broadcasts (some probably unique), several with autograph writing or inscribed, twelve of which are contained in a worn cloth record binder stamped "Samuel Barber Compositions," including of Barber as baritone, accompanying himself performing: Brahms, "Der Gang zum Liebchen", "Der Tod, das ist die kühle Nacht"; Schubert, "Der Jüngling an der Quelle"; Schumann, "In der Fremde"; Mendelssohn, "Ist es wahr?"; C.P.E. Bach "Nonnelied", and Tuscan, English, Kentucky and Tyrolean folk-songs: all at the Curtis Institute, 26 Dec[ember 19]38, 4 records, privately issued, 78 RPM.
Barber, "1959 Accompaniment to canzona for Manfred", Command Classics, "recorded on 35mm magnetic film"
Barber, "Horizon," Standard Hour June 17, 1945, NBC Reference Recording.
Barber, "Second Essay", New York Philharmonic, Leonard Bernstein; "Knoxville, Summer of 1915", Leontyne Price, 2 records, Carnegie Hall Recording Co. [1959]
Barber, "Second Essay", New York Philharmonic, Leonard Bernstein, Carnegie Hall Recording Co., 1959
Barber, "Hermit Songs" and other songs, Leontine Price, Samuel Barber (piano). November, 1953, WNYC recordings, Mary Howard Records, 1953.
Barber, "Die Natali", Op. 37, The Boston Symphony Orchestra with Charles Munch, 2 records, Deryck Waring Recordings, and "Die Natali", dated 2 February [19]63
Barber, "Piano Concerto", John Browning, Boston Symphony Orchestra and Erich Leinsdorf, 28/9/[19]62, Fassett Recording Studio, "Horizon", Mary Howard Records, 1953
Barber, unidentifed recording marked "Samuel Barber" on label "Recorded by Van Lewis Philadelphia".
Barber, "Toccata Festiva," The Philadelphia Orchestra and The New Organ in the Academy of Music," Deryck Waring Recordings, n.d..
Louise Homer and Alma Gluck singing "Oh that we two were maying" in 1912, Victor Talking Machine Co, identified as Tested by: "Samuel Barber" [in ink] and Quality: "Fair - for them" [in ink]
Maria Kurenko singing Mussorgsky's "Sunless", the front label inscribed by Kurenko "To Gian Carlo Menotti great composer and producer" and signed by her on the reverse label; the second disk inscribedf "Souvenir of Maria Kurenko to G. Carlo Menotti." 2 discs.
Bach, "Cantata 56," Karl Ristenpart, Dietrich Fischer -Dieskau, test pressing?
From the collection of Manfred Ibel, "a young German art student and amateur flute player to whom Barber dedicated the piano concerto. Because from the early 1950s Menotti was drawn more and more into the public arena and the demands of his and Barber’s professional lives limited their time together, Barber welcomed having an available companion with whom he could travel and talk about music and literature. What seemed to draw him to the charismatic Ibel was their 'mutual affinity for the spirit of German Romanticism and culture.' During the summer of 1959 they shared a house on Martha’s Vineyard, and it was at this time Barber wrote the song for flute and piano, Elegy, that in 1962 he orchestrated for the second movement of his piano concerto." (Barbara Heyman, notes for the "Barber & Britten, Music + Festival" October, 2013, University of Arizona)
Barber, "1959 Accompaniment to canzona for Manfred", Command Classics, "recorded on 35mm magnetic film"
Barber, "Horizon," Standard Hour June 17, 1945, NBC Reference Recording.
Barber, "Second Essay", New York Philharmonic, Leonard Bernstein; "Knoxville, Summer of 1915", Leontyne Price, 2 records, Carnegie Hall Recording Co. [1959]
Barber, "Second Essay", New York Philharmonic, Leonard Bernstein, Carnegie Hall Recording Co., 1959
Barber, "Hermit Songs" and other songs, Leontine Price, Samuel Barber (piano). November, 1953, WNYC recordings, Mary Howard Records, 1953.
Barber, "Die Natali", Op. 37, The Boston Symphony Orchestra with Charles Munch, 2 records, Deryck Waring Recordings, and "Die Natali", dated 2 February [19]63
Barber, "Piano Concerto", John Browning, Boston Symphony Orchestra and Erich Leinsdorf, 28/9/[19]62, Fassett Recording Studio, "Horizon", Mary Howard Records, 1953
Barber, unidentifed recording marked "Samuel Barber" on label "Recorded by Van Lewis Philadelphia".
Barber, "Toccata Festiva," The Philadelphia Orchestra and The New Organ in the Academy of Music," Deryck Waring Recordings, n.d..
Louise Homer and Alma Gluck singing "Oh that we two were maying" in 1912, Victor Talking Machine Co, identified as Tested by: "Samuel Barber" [in ink] and Quality: "Fair - for them" [in ink]
Maria Kurenko singing Mussorgsky's "Sunless", the front label inscribed by Kurenko "To Gian Carlo Menotti great composer and producer" and signed by her on the reverse label; the second disk inscribedf "Souvenir of Maria Kurenko to G. Carlo Menotti." 2 discs.
Bach, "Cantata 56," Karl Ristenpart, Dietrich Fischer -Dieskau, test pressing?
From the collection of Manfred Ibel, "a young German art student and amateur flute player to whom Barber dedicated the piano concerto. Because from the early 1950s Menotti was drawn more and more into the public arena and the demands of his and Barber’s professional lives limited their time together, Barber welcomed having an available companion with whom he could travel and talk about music and literature. What seemed to draw him to the charismatic Ibel was their 'mutual affinity for the spirit of German Romanticism and culture.' During the summer of 1959 they shared a house on Martha’s Vineyard, and it was at this time Barber wrote the song for flute and piano, Elegy, that in 1962 he orchestrated for the second movement of his piano concerto." (Barbara Heyman, notes for the "Barber & Britten, Music + Festival" October, 2013, University of Arizona)
Barber, Samuel. (1910–1981). Collection of privately issued and limited edition recordings of Barber, some inscribed. Nineteen rare gramophone recordings, privately issued, some from broadcasts (some probably unique), several with autograph writing or inscribed, twelve of which are contained in a worn cloth record binder stamped "Samuel Barber Compositions," including of Barber as baritone, accompanying himself performing: Brahms, "Der Gang zum Liebchen", "Der Tod, das ist die kühle Nacht"; Schubert, "Der Jüngling an der Quelle"; Schumann, "In der Fremde"; Mendelssohn, "Ist es wahr?"; C.P.E. Bach "Nonnelied", and Tuscan, English, Kentucky and Tyrolean folk-songs: all at the Curtis Institute, 26 Dec[ember 19]38, 4 records, privately issued, 78 RPM.
Barber, "1959 Accompaniment to canzona for Manfred", Command Classics, "recorded on 35mm magnetic film"
Barber, "Horizon," Standard Hour June 17, 1945, NBC Reference Recording.
Barber, "Second Essay", New York Philharmonic, Leonard Bernstein; "Knoxville, Summer of 1915", Leontyne Price, 2 records, Carnegie Hall Recording Co. [1959]
Barber, "Second Essay", New York Philharmonic, Leonard Bernstein, Carnegie Hall Recording Co., 1959
Barber, "Hermit Songs" and other songs, Leontine Price, Samuel Barber (piano). November, 1953, WNYC recordings, Mary Howard Records, 1953.
Barber, "Die Natali", Op. 37, The Boston Symphony Orchestra with Charles Munch, 2 records, Deryck Waring Recordings, and "Die Natali", dated 2 February [19]63
Barber, "Piano Concerto", John Browning, Boston Symphony Orchestra and Erich Leinsdorf, 28/9/[19]62, Fassett Recording Studio, "Horizon", Mary Howard Records, 1953
Barber, unidentifed recording marked "Samuel Barber" on label "Recorded by Van Lewis Philadelphia".
Barber, "Toccata Festiva," The Philadelphia Orchestra and The New Organ in the Academy of Music," Deryck Waring Recordings, n.d..
Louise Homer and Alma Gluck singing "Oh that we two were maying" in 1912, Victor Talking Machine Co, identified as Tested by: "Samuel Barber" [in ink] and Quality: "Fair - for them" [in ink]
Maria Kurenko singing Mussorgsky's "Sunless", the front label inscribed by Kurenko "To Gian Carlo Menotti great composer and producer" and signed by her on the reverse label; the second disk inscribedf "Souvenir of Maria Kurenko to G. Carlo Menotti." 2 discs.
Bach, "Cantata 56," Karl Ristenpart, Dietrich Fischer -Dieskau, test pressing?
From the collection of Manfred Ibel, "a young German art student and amateur flute player to whom Barber dedicated the piano concerto. Because from the early 1950s Menotti was drawn more and more into the public arena and the demands of his and Barber’s professional lives limited their time together, Barber welcomed having an available companion with whom he could travel and talk about music and literature. What seemed to draw him to the charismatic Ibel was their 'mutual affinity for the spirit of German Romanticism and culture.' During the summer of 1959 they shared a house on Martha’s Vineyard, and it was at this time Barber wrote the song for flute and piano, Elegy, that in 1962 he orchestrated for the second movement of his piano concerto." (Barbara Heyman, notes for the "Barber & Britten, Music + Festival" October, 2013, University of Arizona)
Barber, "1959 Accompaniment to canzona for Manfred", Command Classics, "recorded on 35mm magnetic film"
Barber, "Horizon," Standard Hour June 17, 1945, NBC Reference Recording.
Barber, "Second Essay", New York Philharmonic, Leonard Bernstein; "Knoxville, Summer of 1915", Leontyne Price, 2 records, Carnegie Hall Recording Co. [1959]
Barber, "Second Essay", New York Philharmonic, Leonard Bernstein, Carnegie Hall Recording Co., 1959
Barber, "Hermit Songs" and other songs, Leontine Price, Samuel Barber (piano). November, 1953, WNYC recordings, Mary Howard Records, 1953.
Barber, "Die Natali", Op. 37, The Boston Symphony Orchestra with Charles Munch, 2 records, Deryck Waring Recordings, and "Die Natali", dated 2 February [19]63
Barber, "Piano Concerto", John Browning, Boston Symphony Orchestra and Erich Leinsdorf, 28/9/[19]62, Fassett Recording Studio, "Horizon", Mary Howard Records, 1953
Barber, unidentifed recording marked "Samuel Barber" on label "Recorded by Van Lewis Philadelphia".
Barber, "Toccata Festiva," The Philadelphia Orchestra and The New Organ in the Academy of Music," Deryck Waring Recordings, n.d..
Louise Homer and Alma Gluck singing "Oh that we two were maying" in 1912, Victor Talking Machine Co, identified as Tested by: "Samuel Barber" [in ink] and Quality: "Fair - for them" [in ink]
Maria Kurenko singing Mussorgsky's "Sunless", the front label inscribed by Kurenko "To Gian Carlo Menotti great composer and producer" and signed by her on the reverse label; the second disk inscribedf "Souvenir of Maria Kurenko to G. Carlo Menotti." 2 discs.
Bach, "Cantata 56," Karl Ristenpart, Dietrich Fischer -Dieskau, test pressing?
From the collection of Manfred Ibel, "a young German art student and amateur flute player to whom Barber dedicated the piano concerto. Because from the early 1950s Menotti was drawn more and more into the public arena and the demands of his and Barber’s professional lives limited their time together, Barber welcomed having an available companion with whom he could travel and talk about music and literature. What seemed to draw him to the charismatic Ibel was their 'mutual affinity for the spirit of German Romanticism and culture.' During the summer of 1959 they shared a house on Martha’s Vineyard, and it was at this time Barber wrote the song for flute and piano, Elegy, that in 1962 he orchestrated for the second movement of his piano concerto." (Barbara Heyman, notes for the "Barber & Britten, Music + Festival" October, 2013, University of Arizona)