Barber, Samuel

notated in black ink on thirteen staves, together with a revised version of the second page (four staves), with annotations, deletions and alterations in pencil and green crayon, the beginning here marked by Barber “Adagio” in crayon, the manuscript containing forty bars of music in all, including the final eight bars of the original draft extended to nine bars in the revision, and brief pencil drafts of a version of bars 21-23 with piano figurations

3 pages in all, folio, 10- and 12-stave papers (Passantino Brands, no.2 and no.7), [1959-1961], 3 blank pages, remains of tape to the margins of the first page (originally taped down onto the bifolio containing Barber's revised ending, the original ending now revealed) 

Condition is described in the main body of the cataloguing, where appropriate
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

This is Barber's original version of this work, apparently conceived as a piece for solo flute, without accompaniment: there are no rests to accommodate the opening bar for the piano that was evidently added later.  However there are some brief pencil sketches including for an accompaniment of three bars on free staves of the second page.  This is a working manuscript, containing a revision of the final nine bars, both drafts being different from the final version. 

Barber met the flautist Manfred Ibel in 1959 and composed this "for Manfredi" shortly aftewards. Barber and Ibel became lovers and the younger man was the composer's muse for several years. The piece uses the melody that later appears in the slow movement of his Piano Concerto op.38 (1962), which is dedicated to Ibel.   The melody can therefore be identified in the Concerto as Manfred's theme: it is in Barber's best lyrical Romantic vein, the freely-evolving melody pitched in C-sharp minor and returning varied in E major and B major, the metre alternating between 3/2 and 4/4.

Barber was awarded the Pulitzer Prize for the Piano Concerto in 1962.   The following year, the flute piece was published separately as Canzone for Flute (or violin) and Piano op.38a, with a dedication to Ibel.