Samuel Barber (1910-1981) - Reincarnations and Sure on this Shining Night
Reincarnations
1. Mary Hynes 2. Anthony O'Daly. 3. The Coolin
Samuel Barber's Reincarnations stands as one of the masterpieces of 20th century American choral literature — a work of exquisite craftsmanship and profound emotional depth. Composed between 1937 and 1940, these three unaccompanied choral settings represent Barber at the height of his lyrical powers. The cycle reflects his ability to fuse a deep sensitivity to poetry with a rich, modern harmonic language rooted in traditional tonality.
The texts come from the Irish poet James Stephens, who 'reincarnated' verses by the 18th century Gaelic poet Anthony Raftery. Stephens' English translations are more than simple renderings, they are poetic reimaginings — transforming Raftery's spirit into new language and form. Barber's title, Reincarnations, thus carries a double meaning, referring not only to the rebirth of the older poetry through Stephens, but also to the composer's musical transformation of those texts into a new and living art form.
The first movement, Mary Hynes, is a burst of vitality and joy. The poem describes an encounter with the most beautiful woman in Ireland, and Barber captures that radiance through rapid, dance-like rhythms and brilliant harmonies. The music mirrors the narrator's dazzled excitement — quick exchanges between voice parts, sudden dynamic contrasts and luminous textures create an atmosphere of youthful excitement.
In striking contrast the second movement, Anthony O'Daly, plunges into deep lamentation. The poem mourns a man unjustly executed, whose death has left the natural world itself desolate: “There is nothing but grief… and the blackbird sings no more.” Barber's setting unfolds as a slow, heavy progression from quiet sorrow to searing anguish. Dense, dissonant harmonies accumulate until they break into a powerful, anguished climax — one of the most devastating moments in all of Barber's choral writing — before subsiding into a hollow, grief-stricken silence.
The final movement, The Coolin, restores calm and intimacy. The poem is a tender love lyric, filled with stillness and contemplation. Barber writes long, arching phrases and suspended harmonies that seem to hover in space. The effect is meditative — an expression of love not as passion, but as enduring devotion. The cycle ends in serenity, suggesting the transcendence of love and beauty beyond death.
Sure on this Shining Night
As we have heard in Reincarnations, Samuel Barber is one of the most lyrical and expressive voices in 20th century American music. Rooted in the Romantic tradition yet unmistakably modern in harmony and emotional depth, Barber's music often combines rich sonorities with a deep sensitivity to text. Sure on this Shining Night is among his most beloved choral works, admired for its simplicity, warmth and quiet radiance.
Originally composed in 1938 as an art song for voice and piano within Barber's Four Songs, Op. 13, Sure on this Shining Night sets a poem by American writer James Agee. The text, brief but evocative, reflects on compassion and the wonder of human experience “on this shining night.” Barber's choral setting, written later (1938—1940) and arranged for SATB choir, retains the intimacy of the original while expanding its expressive range.
The music unfolds in long, arching lines and lush harmonies, creating an atmosphere of stillness and awe. The gentle interplay of voices captures both the personal and universal dimensions of Agee's text — a meditation on beauty, kindness and the fleeting, luminous moments that connect us.
At once nostalgic and hopeful, Sure on this Shining Night exemplifies Barber's gift for crafting music that feels timeless: deeply American yet resonant with the emotional clarity of the Romantic masters he admired. It remains a favourite among choirs for its tender lyricism and its quiet affirmation of the human spirit.
