440:, the third movement is in ternary ABA form, and Broder describes it as "the most tragic of all of Barber's slow movements." Despite its chromaticism and twelve-tone writing, the movement is tonally centered in B minor, and often throughout the movement Barber enriches chords constructed from twelve-tone rows with notes independent from the rows. The movement opens with six dyads which constitute "a vertical statement of twelve tones"; This serves as the first of two twelve-tone rows that comprise the entire movement's bass ostinato. The three sections of the movement are bridged by brief cadential passages that have no relation to the twelve-note aggregates. Tischler notes that "the employment of the twelve-note rows in this movement is quite original and a real contribution to contemporary technique," and is a reinterpretation of the traditional passacaglia through 20th-century lens. After the six dyads are repeated twice, with each repetition taking up one measure, the ostinato transforms itself in an arpeggiated form in the third measure and then repeats in the fourth measure itself transposed up a half-step. The next two measures—numbers five and six—are where the second twelve-tone row is introduced in arpeggiation. The melody, though highly chromatic, does not constitute a row. Section B begins with a similar introduction to that of the opening A section. This section develops the opening melody b including a variant of it in faster
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on four distinct themes, all introduced in the exposition; three of these themes are explored further in the development section. The bipartite development includes a second section that marks a significant shift in the overall atmosphere of the piece. Up until this point, the music has been characterized by constant chromaticism. However, for the first time, the key signature aligns closely with the music itself, with no chromatic alterations for twelve measures. The section begins with a bass ostinato featuring a reworked quintuplet motive, creating a striking effect. The recapitulation begins with a climactic restatement of the first theme, now intensified by octave doubling and richer harmonies; the very first chord of the recapitulation incorporates the notes of both the German and French augmented sixth chords in E-flat minor, alongside the tonic chord. Although the recapitulation is slightly condensed overall, it still presents all major thematic groups. The coda that follows is where the home key of E-flat minor is fully ascertained in the movement.
240:. Barber planned to complete his sonata during his stay at the American Academy in Rome, initially planned from February to July. The composer was wary of the academy's crowded conditions and disgruntled atmosphere but hoped to work in isolation. However, once in Rome, he found it hard to focus, with the change of scenery and the charm of Italy's culture and people distracting. Barber was distracted by the postwar social and political scene, engaging with intellectuals, Vatican insiders, and historical interests like an excavation near Cosa. Despite attending inspiring concerts, including programs of newly discovered
477:, and it provides a lyrical contrast to the intense momentum driving the rest of the movement. This episode is followed by another developmental section that opens with a peculiar stretto effect. The fugue eventually climaxes in a massive four-voice stretto over a dominant pedal point. The coda begins with a sinister gallop leading way to a passage where the right hand arpeggiates a German augmented sixth chord in E-flat minor, but with an added dominant (B-flat). A brilliant octave passage concludes the fugue and the sonata.
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573:(Op. 35), a fact that delighted Barber: "anyone who wants to hear Horowitz play the funeral march —and many will—will be forced to buy my sonata as well." This recording remained Barber's preference for at least ten years. A live recording of Horowitz playing the sonata at a Carnegie Hall recital on March 20, 1950, was also commercially released by
426:. Following a return of the section A, section C introduces a new theme in B-flat major, which has rhythmic and intervallic similarities to the second primary theme. The final return of the A section involves further chromatic shifts, ultimately resolving into a coda where melodic fragments from earlier sections are revisited and resolved.
422:
a G major backdrop, yet chromatic elements such as C# and F-natural subvert this stability. Section A introduces to primary themes, one in G major and one in the subdominant key of C major. Section B adopts a waltz-like character and is in C major. Within its distinctive atmosphere are complex syncopations, bitonalities, and
473:. The third episode, in E major, has been described by Broder as having an American folk-dance flavor. It develops the countersubject's first motive and presents it in augmentation and inversion. Throughout the episode, there are allusions to American Western folk music and Barber's earlier piano composition
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are presented at the start of the piece, the entire subject henceforth reappears only twice: once in the second development section and again in stretto during the final episode. However, unlike those, Barber's subject does not distinguish between the head motive and the rest through contrasting note
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that is very difficult to play, and it has been widely considered one of the greatest examples of the fugue in the 20th century. While conventional in structure, syncopated rhythms and "blue note" harmonies, characteristic of
American jazz, are woven into the fugue's fabric. The subject resembles old
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The second movement is in rondo form, tonally centered in G major and in 6/8 time. The rondo is a five-part ABACA, with each section featuring complex thematic development influenced by such features as chromaticism and metric modulations. For instance, the initial tonal framework initially suggests
189:
to focus on the sonata proved unproductive, as Barber was distracted by the postwar social scene and his interactions with intellectuals, Vatican insiders, and
Italian culture. Barber returned to the United States in 1948 and completed the second movement by mid-August. Initially, Barber envisioned a
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Sifferman 1982, p. 62. " Friedewald states that the answer is "real." This is true for motives A and B. However, the C motive in the answer is transposed at the fifth below rather than the fourth below. This "subdominant" transposition is traditional for modulating subjects and allows for the smooth
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This sonata, which I had already read, gives me unrestricted pleasure. It is a remarkable work from the musical point of view as well as the instrumental. By turns pathetic, cheerful, or lyric, it ends with a fugue of fantastic difficulty. We are far from the dull, scholastic fugues on the pupils—I
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into the movement's texture. The composer prioritizes the musical motive over strict adherence to a twelve-note structure, allowing flexibility in note repetition, omission, and grouping to enhance the piece's expressive quality. According to musicologist Nathan Broder, the entire movement is based
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is derived from the main theme of the first movement, and can also be divided into three motives. The first episode following the fugue's exposition includes a development of the countersubject canonically. The second episode includes fragments of both the subject and the first countersubject and
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The composer finished the sonata in June 1949, and
Vladimir Horowitz began to prepare it for performance, spending five hours a day practicing it. Barber later commented that Horowitz had been playing it "with a surprising emotional rapprochement which I had not expected". Horowitz premiered the
376:'s example in terms of motivic development, seriousness, and concentration. American folk idioms are included in at least the second and fourth movements of the sonata. Despite forays into twelve-tone techinique, and its chromaticism and dissonance, the sonata is based on a key center, that of
31:
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Barber returned to the United States early in the summer, sooner than planned, and finished the second movement in mid-August of 1948. Upon completing the first two movements, Barber initially planned a concluding slow movement, and played the completed movements for
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Italian fugue subjects in its sectional composition; there are three distinct motives in the subject. Tischler describes the fugue as having five development sections, each separated by episodes, and concluding with a coda. After the full subject and its borderline
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said that he considered the sonata "uneven and dangerously flawed", saying that it had "a kind of unevenness of inspiration or level of compositional skill, a kind of contrived quality to each of the movements that attempt something in fact not quite achieved".
225:' recommendation, announced a commission for a piano sonata by Barber to mark the 25th anniversary of the League. Berlin and Rodgers donated funding for the commission. Barber began writing the sonata that month, completing the first movement by December 1947.
485:
Heyman stated that perhaps no other piece by Barber "has had as stunning an impact on the
American musical world as his Sonata for Piano". The sonata's acclaim by music critics following its first performances was immediate. Richard Keith wrote in
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three-movement work, but after sharing his progress with
Horowitz, the pianist suggested a four-movement structure with a "flashy last movement." This advice led Barber to compose a virtuosic four-voice fugue as a final movement.
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following
Horowitz's January 11, 1950, Constitution Hall performance that the fugue is "one of the most musically exciting and technically brilliant pieces of writing yet turned out by an American"; Glenn Gunn of the
252:, who would later premiere the work, at Horowitz's house. Horowitz then suggested Barber write a four-movement work with a "very flashy last movement, but with content", a movement which would become a fugue.
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in
January 1950. The sonata is regarded as a cornerstone of American piano literature and one of Barber's most significant achievements. Critics hailed it as a defining moment in mid-20th-century music, with
177:
Barber began composing the work in
September 1947, completing the first movement later that year. However, progress was slow due to his demanding schedule, which included preparations for his ballet
205:
in
Washington, D.C., later that month, followed by a performance at New York's Carnegie Hall. The sonata was met with immediate widespread acclaim, and has since been performed and recorded often.
193:
Horowitz premiered the sonata in Havana, Cuba, on
December 9, 1949. He followed this premiere with a private performance in New York in early January 1950 attended by prominent composers including
899:
Sherman, p. 42–43. "I played for at his house and I fell on the floor at the end of the third movement—that was really just a joke, but they were a little worried about me. It was awfully hard!"
304:. It received ubiquitous praise from music critics. By April 1950, plans were in place for Horowitz to record the sonata for a Christmas release that year; Horowitz made the recording in May, for
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said "the sound of the instrument has not been exploited in a similar manner by any twentieth-century composer". Following the official New York premiere at Carnegie Hall,
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noted in 1986 that the sonata was "once considered almost too demanding a work." Structurally, the sonata adheres to traditional designs for each movement. Musicologist
528:, Barber's romantic partner, said in 1981 about the sonata: "I don't know a single piano sonata in the modern repertoire that has that strength and power."
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Menotti, Gian Carlo; Dickinson, Peter (2010) . "Gian Carlo Menotti: Interview with Peter Dickinson, Yester House, Gifford, Scotland, April 6, 1981".
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However, Barber's progress on the sonata was interrupted by a hectic schedule that demanded his focus, including rehearsals for his ballet
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noted the sonata had a "prodigious success", declaring it "the first sonata really come of age by an American composer of this period."
1605:
Brahms, Barber, Chopin, Beethoven: Brahms 2 KlavierstĂĽcke, Op. 118; Barber Sonate, Op. 26; Chopin Ballade No. 3 in A-Flat Major, Op. 47
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writes that "the sonata form is more aptly delineated by melodic design than by harmonic structure." Barber worked several twelve-tone
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444:. The return of the A section also includes added counterpoint, with a middle voice including fragments of the melody in canon.
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Sonata in Havana, Cuba, on December 9, 1949. This was followed by a private performance in New York at the former
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569:. It was initially released on LP later that year; the LP's other side included Horowitz's recording of Chopin's
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in December 1950, a performance that Barber heard. The recording was subsequently released commercially by
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The sonata is very difficult to play; Barber, himself a pianist, was unable to adequately play it, and the
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2006:
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writes that the sonata fuses modern compositional technique—such as contemporary harmonic materials and
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147:, was commissioned for the twenty-fifth anniversary of the League of Composers by American songwriters
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Pianist Marjorie Mitchell's recording of the sonata was released on Decca's Gold Label Series in 1966.
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was released by Orfeo on CD; he subsequently made a studio recording in Rome in 1967 for RCA Victor.
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describing it as the "first sonata truly to come of age by an American composer of this period."
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Sherman, Robert; Barber, Samuel (2010) . "Samuel Barber Interviewed by Robert Sherman (1978)".
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Heyman, p. 332–333. "The first two movements are good, I think. Now a slow movement– finale."
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Kozinn, Allan; Barber, Samuel (2010) . "Samuel Barber Interviewed by Allan Kozinn (1979)".
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repeat, the pupils—of Hindemith. This sparkling finale knocks you out in some five minutes.
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155:. Composed from 1947 to 1949, the sonata is in four movements. It was first performed by
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all attended. The official U.S. premiere was in Washington, DC, on January 11, 1950, at
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1771:. New York, NY : Milwaukee, Wis: G. Schirmer ; Distributed by Hal Leonard.
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388:, a book that was reportedly on Barber’s piano while he was composing the sonata.
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2018:
1976:
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1485:(album). Vladimir Horowitz. United States: RCA Victor Red Seal. 1990. 60377-2-RG.
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The sonata has also received occasional criticism, primarily from musicologists.
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273:
241:
218:
152:
1349:
Gunn, Glenn Dillard (January 11, 1950). "New Barber Sonata Played by Horowitz".
715:"SONATA TO HONOR LEAGUE; Samuel Barber Work to Mark Composers' 25th Anniversary"
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545:
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1513:(album). Vladimir Horowitz. United States: RCA Victor Red Seal. 1950. LM-1113.
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The sonata is in four movements, and usually takes twenty minutes to perform:
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1988:
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1807:. Eastman studies in music. Rochester (N.Y.): University of Rochester Press.
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1541:(album). Vladimir Horowitz. United States: Sony Classical. 2013. 88765484172.
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308:. This recording remained Barber’s preferred version for at least a decade.
300:; Horowitz then publicly played the work in New York on January 23, 1950 at
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2057:. New York, NY; Milwaukee, Wis: G. Schirmer; Distributed by Hal Leonard.
1822:
Heyman, Barbara B. (2020). "Middle Years: The Clear Status of a Master".
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Chopin: Sonata In B Flat Minor, Op. 35 / Barber: Sonata For Piano, Op. 26
608:'s October 1977 live recording of the sonata from London was released on
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399:
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748:"The World of Music: Commissions." New York Times, 11 December 1949, X7.
1967:
Svard, Lois (1986). "Review of Complete Piano Music by Samuel Barber".
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Prokofiev, Barber: Two 20th Century Masterpieces - Sonata No. 6, Sonata
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1996:
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1980:
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Plays Samuel Barber: Sonata for Piano; Richard Cumming: 24 Preludes
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Keith, Richard (1950-01-11). "New Barber Sonata Done by Horowitz".
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407:
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Sherman, p. 43. Barber: " has kept plenty of pianists busy since."
380:. Some of the twelve-tone melodic patterns resemble examples from
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return to the tonic for the next entrance of the subject (m. 6)."
2082:
1710:
30:
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1935:(D.M.A. thesis). The University of Texas at Austin. 303256562.
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Barber, Samuel (2010). Wittke, Paul; Walters, Richard (eds.).
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in December 1949 in Havana, Cuba, followed by performances in
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Wittke, Paul; Walters, Richard (2010). "Notes on the Music".
1578:(album). Moura Lympany. United Kingdom: Decca. 2020. 4829404.
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360:—with techniques from the preceding three centuries, such as
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pieces, Barber struggled to accomplish much during his stay.
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The sonata was also praised by fellow composers, including
1826:(2nd ed.). Oxford University Press. pp. 282–343.
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Moura Lympany performed the sonata for the first time on
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Tocco (1977). Barber: "My sonata? No, no, no. I can't ."
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Tocco, James (1977). "Happy Birthday, Samuel Barber!".
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Cathedral in the Forest: Reinterpreting Barber's Sonata
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The world premiere recording of the sonata was made by
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1914:. New York: William Morrow and Company. p. 229.
1483:
Horowitz Plays Prokofiev, Barber, Kabalevsky Sonatas
1366:"HOROWITZ OFFERS BARBER'S SONATA; HIS SONATA HEARD"
1717:Joel Fan — West of The Sun: Music of the Americas"
1864:(DMA thesis). ProQuest Dissertations Publishing.
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849:Olin Downes, "Horowitz Offers Barber's Sonata",
669:, released in April 2009 by Reference Recordings
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544:expressed a dislike for the sonata, preferring
398:The first movement is in "fairly traditional"
372:. Tischler also notes that the sonata follows
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1942:Samuel Barber Remembered: A Centenary Tribute
1939:
1885:Samuel Barber Remembered: A Centenary Tribute
1833:Samuel Barber Remembered: A Centenary Tribute
1805:Samuel Barber remembered: a centenary tribute
1739:Gramophone Magazine Joel Fan Recording Review
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1728:ClassicsToday.com Joel Fan Recording Review"
1635:Delius: Piano Concerto; Barber: Piano Sonata
618:'s first studio recording of the sonata for
548:'s Piano Sonata, which he found "terrific".
447:
213:In September 1947, the American songwriters
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201:. The official U.S. premiere took place at
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1704:Ives: Concord Sonata; Barber: Piano Sonata
628:made a studio recording of the sonata for
1928:
1824:Samuel Barber: The Composer and His Music
1802:
823:Plaskin, Glenn, "Horowitz, a biography",
2004:
1887:. Boydell & Brewer. pp. 55–72.
1857:
1750:Samuel Barber-Adagio (100th Anniversary)
386:Thesaurus of Scales and Melodic Patterns
1909:
1649:"In Memory of Terence Judd (1957-1979)"
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695:List of compositions by Samuel Barber
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1932:Samuel Barber's Works for Solo Piano
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1439:Hitchcock and Dickinson, pp. 152–153
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765:
763:
744:
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532:praised the fugue as "exceptional".
454:The fourth movement is a four-voice
2054:Samuel Barber: Complete Piano Music
1674:In Memory of Terence Judd 1957-1979
391:
13:
1702:Marc-André Hamelin (August 2004).
1261:
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571:Piano Sonata No. 2 in B-flat minor
14:
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260:headquarters on January 4, 1950.
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1929:Sifferman, James Philip (1982).
1451:"Charles Rosen: A life in music"
644:, released by Endeavour Classics
29:
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402:and in 4/4 meter. Musicologist
143:. 26, by the American composer
2213:Music for a Scene from Shelley
2007:"Barber's Piano Sonata Op. 26"
1416:"Interview with George Walker"
808:
799:
790:
781:
772:
751:
707:
675:, released in January 2010 by
1:
2450:Compositions by Samuel Barber
1449:Wroe, Nicholas (2011-04-08).
700:
632:, which was released in 2004.
2465:Compositions in E-flat minor
480:
7:
1364:Downes, Olin (1950-01-24).
688:
684:, released in 2021 by Decca
464:lengths. The fugue's first
185:. A planned retreat to the
10:
2481:
2265:Medea's Dance of Vengeance
2243:Second Essay for Orchestra
1858:Marshall, Richard (2018).
1758:
561:in May 1950 at New York's
208:
2401:
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2358:
2320:
2313:, for wind quintet (1956)
2275:
2251:Third Essay for Orchestra
2196:
2138:Knoxville: Summer of 1915
2129:
2120:
1803:Dickinson, Peter (2010).
1622:. RCA Red Seal. LSC-3229.
1092:Sifferman 1982, pp. 56–57
757:Walters and Wittke, p. 10
638:, released by Phoenix USA
449:Fuga: Allegro con spirito
349:Music Library Association
237:Knoxville: Summer of 1915
183:Knoxville: Summer of 1915
123:
109:
101:
96:
88:
80:
72:
64:
56:
48:
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2228:Symphony in One Movement
1944:. Boydell & Brewer.
1835:. Boydell & Brewer.
1240:Sifferman 1982, pp.62–63
1074:Marshall 2018, pp. 86–87
1038:Marshall 2018, pp. 65–66
416:Allegro vivace e leggero
187:American Academy in Rome
2023:10.1093/ml/XXXIII.4.352
2005:Tischler, Hans (1952).
1910:Plaskin, Glenn (1983).
1794:Broder, Nathan (1954).
1351:Washington Times-Herald
496:Washington Times-Herald
2386:Barber Violin Concerto
2205:The School for Scandal
2154:Prayers of Kierkegaard
1960:10.7722/j.ctt7zsv91.11
1903:10.7722/j.ctt7zsv91.11
1851:10.7722/j.ctt7zsv91.11
1687:John Browning (1974).
853:, 24 January 1950, 27.
575:Sony Classical Records
523:
1912:Horowitz: A Biography
1706:. Hyperion. CDA67469.
1607:. Orfeo. C 841 111 B.
1539:Live At Carnegie Hall
1315:Marshall 2018, p. 130
1306:Sifferman 1982, p. 71
1297:Marshall 2018, p. 128
1288:Sifferman 1982, p. 69
1279:Sifferman 1982, p. 67
1270:Marshall 2018, p. 125
1258:Marshall 2018, p. 123
1249:Marshall 2018, p. 122
1221:Sifferman 1982, p. 61
1212:Marshall 2018, p. 117
1185:Sifferman 1982, p. 61
1176:Sifferman 1982, p. 56
1155:Sifferman 1982, p. 55
1137:Sifferman 1982, p. 53
1110:Sifferman 1982, p. 52
1065:Sifferman 1982, p. 47
1056:Sifferman 1982, p. 46
1047:Sifferman 1982, p. 43
1029:Sifferman 1982, p. 42
1011:Sifferman 1982, p. 31
1002:Sifferman 1982, p. 37
955:Sifferman 1982, p. 22
518:
471:rhythmic augmentation
436:Often described as a
358:twelve-tone technique
342:: Allegro con spirito
2178:Antony and Cleopatra
2123:List of compositions
1768:Complete piano music
1676:. Chandos. DBR 3001.
1146:Marshall 2018, p. 91
1020:Marshall 2018, p. 65
591:A live recording by
35:The composer in 1944
2235:Essay for Orchestra
1637:. Decca. DL 710136.
1633:Marjorie Mitchell.
1336:The Washington Post
489:The Washington Post
442:thirty-second notes
312:Structure and music
223:League of Composers
2393:Gian Carlo Menotti
2359:Other compositions
2221:Adagio for Strings
1370:The New York Times
862:Heyman, p. 339–340
851:The New York Times
769:Heyman, p. 330–332
719:The New York Times
682:Isata Kanneh-Mason
626:Marc-André Hamelin
552:Notable recordings
537:H. Wiley Hitchcock
526:Gian Carlo Menotti
506:The New York Times
262:Gian Carlo Menotti
199:Gian Carlo Menotti
171:The New York Times
2460:1949 compositions
2415:
2414:
2064:978-0-7935-2462-4
2011:Music and Letters
1951:978-1-58046-350-8
1894:978-1-58046-350-8
1842:978-1-58046-350-8
1814:978-1-58046-350-8
1778:978-0-7935-2462-4
787:Sherman, p. 42–43
663:Grammy Nomination
622:was made in 1970.
597:Salzburg Festival
559:Vladimir Horowitz
382:Nicolas Slonimsky
298:Constitution Hall
294:Samuel Chotzinoff
250:Vladimir Horowitz
203:Constitution Hall
157:Vladimir Horowitz
139:in E-flat minor,
133:
132:
128:Vladimir Horowitz
2472:
2432:
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2423:
2407:
2406:
2378:Related articles
2276:Chamber and solo
2170:A Hand of Bridge
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393:Allegro energico
278:Thomas Schippers
161:Washington, D.C.
105:December 9, 1949
33:
24:by Samuel Barber
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2017:(4): 352–354.
2002:
1981:10.2307/897355
1975:(3): 645–646.
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721:. 1947-09-24.
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2146:Hermit Songs
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2079:
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2040:Camera Three
2039:
2014:
2010:
2001:</ref>
1972:
1968:
1941:
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1884:
1873:. Retrieved
1860:
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1767:
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1656:. Retrieved
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1466:. Retrieved
1455:The Guardian
1454:
1444:
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1424:. Retrieved
1422:. 2016-04-11
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1381:. Retrieved
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730:. Retrieved
718:
709:
642:Stephen Beus
606:Terence Judd
595:at the 1964
534:
524:
519:
511:
504:
494:
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453:
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431:Adagio mesto
430:
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378:E-flat minor
347:
345:
315:
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192:
182:
178:
176:
169:
137:Piano Sonata
136:
134:
19:Piano Sonata
1420:DO THE M@TH
593:Van Cliburn
501:Olin Downes
461:real answer
438:passacaglia
400:sonata form
366:passacaglia
362:sonata form
258:G. Schirmer
2444:Categories
2296:Excursions
2197:Orchestral
1875:2024-08-17
1870:2572636981
1658:2024-08-19
1653:Gramophone
1468:2024-08-20
1426:2024-08-16
1383:2024-08-20
732:2024-08-16
701:References
567:RCA Victor
475:Excursions
424:blue notes
408:aggregates
306:RCA Victor
286:Lukas Foss
124:Performers
92:Solo piano
2335:Capricorn
2321:Concertos
2186:Agnus Dei
2073:688622218
2031:0027-4224
1989:0027-4380
1787:688622218
1463:0261-3077
1378:0362-4331
727:0362-4331
648:Olga Kern
563:Town Hall
481:Reception
469:includes
374:Beethoven
330:e leggero
290:Myra Hess
221:, on the
81:Movements
68:1947–1949
52:Classical
41:Catalogue
2409:Category
2337:Concerto
1866:ProQuest
689:See also
667:Joel Fan
326:Allegro
323:energico
110:Location
97:Premiere
73:Duration
65:Composed
2162:Vanessa
1759:Sources
321:Allegro
242:Vivaldi
209:History
89:Scoring
2420:Portal
2351:(1962)
2345:(1945)
2339:(1944)
2330:(1939)
2305:(1949)
2299:(1942)
2291:(1936)
2285:(1932)
2268:(1955)
2260:(1950)
2254:(1978)
2246:(1942)
2238:(1938)
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2224:(1936)
2216:(1933)
2208:(1931)
2189:(1967)
2181:(1966)
2173:(1959)
2165:(1958)
2157:(1954)
2149:(1953)
2141:(1947)
2071:
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2029:
2015:XXXIII
1997:897355
1995:
1987:
1958:
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1461:
1376:
831:, p229
827:
725:
368:, and
334:Adagio
328:vivace
292:, and
114:Havana
60:Sonata
44:Op. 26
2367:Medea
1993:JSTOR
1969:Notes
1956:JSTOR
1899:JSTOR
1847:JSTOR
661:NAXOS
456:fugue
370:fugue
336:mesto
231:Medea
179:Medea
49:Genre
2069:OCLC
2059:ISBN
2027:ISSN
1985:ISSN
1946:ISBN
1916:ISBN
1889:ISBN
1837:ISBN
1809:ISBN
1783:OCLC
1773:ISBN
1590:link
1553:link
1525:link
1497:link
1459:ISSN
1374:ISSN
825:ISBN
723:ISSN
565:for
340:Fuga
217:and
197:and
181:and
163:and
151:and
135:The
118:Cuba
102:Date
57:Form
2044:CBS
2019:doi
1977:doi
582:BBC
503:of
384:’s
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762:^
741:^
717:.
364:,
288:,
284:,
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276:,
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264:,
141:Op
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