History
Barber's Adagio for Strings began as 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. The inspiration came from Virgil's Georgics. Kimberly Keir of Cecil County Public Schools stated that "Barber envisioned a small stream that grows into a river." In the quartet the adagio follows a violently contrasting first movement (Molto allegro e appassionato) and is succeeded by music which 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 then 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, a radio broadcast which was recorded for posterity. 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 the piece.
Toscanini took Adagio for Strings on tour to 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. Barber felt the Toscanini recording well surpassed the Carnegie Hall recording.
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