'CAPRICORN'
MOUNT KISCO, N. Y.

June 12, 1951

Dear Virgil,

I am writing to ask a rather unusual request of you; it is for a dear friend of mine who will be 75 years old next August 6. Would you be so kind as to harmonize "Happy Birthday to You" in any shape, style, or variant which might amuse you on the enclosed sheets of manuscript paper -- or simply transcribe the melody in your own hand on one sheet? I am asking a few distinguished composers to join me in this gesture; and the pages, when returned here, will be bound in an album.

The recipient is to be Mary Curtis Zimbalist, who over 25 years ago endowed the Curtis Institute of Music in Philadelphia, where so many musicians from all over the world (including myself) have received their musical education gratuitously. The school has had a profound influence on the musical life of this country; and although you may not know its Founder and President personally, hundreds of the best orchestral players (to cite one category) from all over the country were trained at Curtis: and these musicians are those who play your music. It would mean much to Mrs. Zimbalist, I know, to have this musical greeting from composers. In order that the sheets may be bound, they should be returned to me early in July, but please date yours August 6, 1951.

I should be so happy to receive this from you and send you my very warm thanks and greetings.

Barber

July 30, 1951

Dear Virgil:

It is absolutely charming and will do a great
deal to liven up the solemn occasion...

Gian-Carlo has returned and we are stewing in
the heat. I hear that you are spending the summer by
the sea so I suppose we shall have no chance of seeing
you until fall; however, do let us know if you are ever
passing through town and might have time to come out.

I have just taken the Birthday album for Mrs.
Zimbalist to be bound and am sure she will be delighted.
"Happy Birthday" has undergone the most extraordinary
metamorphoses as received from various corners of the
world: from riddle and cancrizan canons, waltzes, fanfares,
montages, choruses, string quartets (with a bang!), and
lieder (très calme) to an adaptation of the Beethoven
Violin Concerto! Curiously enough the number of contribu-
tions received equalled the number of notes in the tune.

Among those who joined us are Messrs. Bax, Bloch,
Chavez, Copland, Dohnányi, Harris, Hindemith, Honegger,
Martinu, Menotti, Milhaud, Piston, Pizzetti, Poulenc,
Schuman, Sibelius, Strawinsky, Vaughan Williams, Villa-
Lobos, and Walton.

I cannot thank you enough for having taken the trouble
to make the album such a success and in itself a most
interesting document.

Best always,

CAPRICORN MOUNT KISCO, NEW YORK

July 19, 1953.

Dear Virgil:

I have come back from a quickee fortnight from Europe, G. C. too, and we are settled here in the heat for the summer. Do come and see us when you return but don't return too soon unless you want to broil! Phone us. The shack at Fire Island is only good for swimming-parties really and far from ideal, but we'll be there off and on. I read all the letters to Gertrude Stein while there last week and was fascinated and moved: what a good friend she must have been. All the composers' letters (with the exception of V. T.) were the stupidest. I lost Uncle Sidney Homer last week, such a good and steady friend to me over thirty years' span; my studio seems lonesome.

Europe was fun but uneventful, the U. N. meetings awful. Everyone there is saying you are leaving the Tribune and it is amusing to study their faces -- expressions ranging from sheer dismay and real worry to savage jubilation. I am sure you are spreading this rumor just to test reactions, V. T. old snooper, but I shan't specify any further. You are having enough fun as it is.

I saw my ballet danced quite well at Cologne and spent a wonderful day at Solesmes; the Reverendissime Père looked just like R. Thompson, beaming in a red velvet hat.

Amuse yourself, dear Virgil. G. C. joins me in love.

As ever,

CAPRICORN, MOUNT KISCO, NEW YORK

January 18, 1962

Dear Virgil,

I am afraid that we have been imbibing with such joy
the holiday cheer which you so kindly sent us that we
have forgotten to thank you for your charming thought.
At least, I have, and hasten to do so. It was so kind
of you to remember us and I wish you all sorts of good
things for 1962. We shall save a bottle for your coming
to Capricorn, an event which is long overdue.

As ever,

In Honor of Mr. Samuel Barber

Following the World Premiere of the Opera "Vanessa"
at the Metropolitan Opera

Mr. Rudolph Schirmer

requests the pleasure of the company of

Mr. Thomas

at supper on Wednesday evening, January 15, 1958

The Ambassador Hotel

Park Avenue and 51st Street

R.S.V.P.
G. Schirmer Inc.
Suite 902
667 Madison Avenue
New York City

January 9, 1963

Dear Sam,

Speaking with Aaron Copland last night, I learned
he had not answered me about the publishers' contract
that I sent to all of you, because he was hesitant about
joining a society which would charge him a percentage
for collecting his royalties. He had not understood
that approving the contract which I had sent him did
not entail any such membership. Lest you should have
a similar hesitation, do please be assured that there
will be no pressure on you to join AGAC. I particularly
wanted your approval of the contract in general, so that
a large number of ASCAP composers and publishers will
be influenced by your approval to accept this standard
form. Bob Ward and Avery Claflin are recommending it
similarly to the ACA membership.

Aaron is wholly in favor of it and offers the use
of his name. Lennie Bernstein is equally favorable.
If you and Gian-Carlo will join with the rest of us in
recommending it, then I think we have possibly a good
chance to establish it in practice as a basic minimum
agreement between composer and publisher.

You would not even be obliged to use this contract
yourself, if you have one which is more favorable. I am
hoping, all the same, that you will help us to establish
it in practice that no composer will be obliged to accept
less favorable terms.

Ever yours and affection,

VT:jb

AT:jp

Faver Jouns and Allecton,

less favorable terms.

it in practice that no composer will be obliged to accept
holding, all the same, that you will help me to eatapliat
Jonnart, it you have one which is more favorable. I am
You would not even be obliged to me this contract

chance to eatapliat it in practice as a base minimum
recommending it, then I think we have positively a good
It you and Gian-Carlo will join with the rest of us in
of his name. Lennie Bernhardt is equally favorable.

Aaron is wholly in favor of it and offers the same

similarly to the AGA mempeanip.
tom. Hop Ward and Avery Clafin are recommending it
be influenced by your approval to accept this atandard
a large number of ASCAP componera and buplihera will
wanted your approval of the contract in General, so that
will be no breasure on you to join AGAG. I particularly
a similar relation, do please be assured that there
not entail any such membership. Beat you should have
that approving the contract which I had sent him did
tor collecting his royalties. He had not underatood
joining a society which would charge him a percentage
that I sent to all of you, because he was realist about
he had not answered me about the buplihera's contract
Speaking with Aaron Copland last night, I learned

Dear Sam,

January 9, 1963

Samuel Barber
Capricorn
Mount Kisco, N.Y. 10549

May 4, 1970

Dear Sam,

I enclose a fan letter for
your delectation.

If you have any knowledge
of where the record can be obtained,
perhaps you may wish to let the lady
know.

In any case, it went over big
with her.

Yours in affection,

Yours in affection,

with her.

In any case, it went over pig
know.
Perhaps you may wish to let the lady
or where the record can be obtained,
If you have any knowledge
your delectation.

I enclose a fan letter for
Dear Sam.

May 4, 1950

Momot Kiaco, M.Y. 10549
Capricorn
Samuel Barper

29 November 1982

Dear Mr. Fahey,

I can't answer any question beginning with Why. Neither can anyone else.

Nor did Sam Barber limit himself to what you call "post-romanticists" in poetry. There were also the Knoxville fellow and Kierkegaard and the old Irish ones.

Leaving out the operas may shorten your work, but they remain a part of your texts-for-music problem, if there is one.

Barber never discussed with me his choice of texts. He may have done so with Charles Turner, a longtime friend and pupil.

You can write him at 330 West 72nd Street, New York, New York, 10023 (telephone: 212-877-9567).

I seriously question the validity of your texts-and-music investigating, as well as its intrinsic interest for either literature or music. Unless, of course, you may have access to some psychiatric technique of inquiry that might apply to both poets and musicians.

Anyway, good luck and greetings,

John H. Fahey, Esquire
1353 N. Linden Avenue
Glendale, California 91201

lr

Ir.

Cfendrsf, California
1323 N. Irtgen Avenue
John H. Barley, Redmore

Airfield Thomson

Very sincerely,

Warmly, good luck and greetings,

indulgently that might apply to both books and movies.
Unless, of course, you may have access to some belchistrio technique of
the well as its intrinsic interest for either literature or music.
I serendipally question the validity of your texts-and-musie investigating,
(telephone: 515-825-8255).

You can write him at 330 West 52nd Street, New York, New York, 10033

so with Charlie Trueman, a longtime friend and brother.
Barber never discussed with me his choice of texts. He may have done

of your texts-for-musie problems, if there is one.
Leaving out the opera may shorten your work, but they remain a part

of the old Irish ones.
the old Irish ones.
There were also the Kuhnville fellow and Kierkegaard and
nor did Sam Barber limit himself to what you call "post-romanticist"

I can't answer any question beginning with Why? Neither can anyone else.

Dear Mr. Barley,

29 November 1985

Glendale, California

December 7, 1982

Dear Mr. Thomson:

Thank you for your quick, insightful response to my letter of November 22. I have a horror story to relate, an apology and a confession to make and, finally, one last request.

Last Friday I drove down to Fullerton in order to take my comprehensive examination in music theory. Just before leaving the house, I grabbed your letter and dropped it in my satchel between Piston's *Harmony* and Krenek's *Counterpoint* (it gets even worse). After completing the exam I walked out to my car where I found a parking ticket on the windshield. I tossed my satchel on the roof of the car, then unlocked the door as I removed and glanced at the citation. I suppose the nine dollar fine was just too much for me after taking that exam, so I sat down and stared at the crumby little slip of paper. After mumbling something I'd rather not repeat, I pulled the door shut, backed up and drove off. Forty miles later I stopped the car, and the horrible realization of what had happened crept over me. Somewhere between Fullerton and Glendale your letter to me lay unprotected and wedged between texts by Piston and Krenek. What a way to go. I retraced my route, notified the Police and campus security, checked with every lost and found department on campus...all to no avail. I don't think I need explain how foolish I feel, so I am not going to try. I do want to write to Charles Turner, as you suggested. Unfortunately, there are six Charleses and a Charlie listed in the Manhattan directory. Would you be so kind as to let me have the correct address once more? I'm so sorry to be a bother.

Finally, I appreciate your evaluation of my thesis. After considering your comments, I must confess to a lack of courage. I refrain from being direct sometimes for fear of incurring the indignant rebuff of my artistic superiors. Both you and William Schuman pointed to this weakness, and so I make a last plea for consideration as boldly as I know how. I know Barber selected other than modern poetry, but I contend that his preference was for an "imagist" or "post-romantic" text (better than 75% of the time), because it enabled him to honestly express himself in a deeply affective and personal manner, but in such an abstract way that it guarded aspects of his privacy, particularly his sexuality, his spirituality and his family life. I want to know something about the relationships he had with each of the people to whom he dedicated compositions: Gama Gilbert, Dario and Susanna Cecchi, Rohini Coomara, Sara Barber Beatty, Roy Barber, Florence Kimball and Valentin Herranz. I would also like to know what became of Robert Horan; do you know if he's still alive? And do you know the name Pack Browning? I have been unable to find out anything about him; Barber set his poem *Easter Chorale* in 1964.

I hope you will forgive my faux pas, and thank you once again for your time and consideration.