The movement ends like it begins, rather abruptly.
Barber's unique use of tone row patterns is immediately prevalent, and it is through these patterns that the contrapuntal and thematic material is developed. The first movement begins with a raucous theme, presented in both clefs. Barber integrated many 20th century musical ideas into the sonata, including extended chromaticism and tone rows. Though extremely difficult to execute, the sonata is much more than a virtuosic showpiece. The sonata is in four movements, and usually takes twenty minutes to perform: Horowitz premiered the Sonata in Havana, Cuba, on December 9, 1949, followed by performances in Cleveland and Washington, DC, before presenting the work at Carnegie Hall on January 23, 1950. Funding for the League of Composers commission was donated by Irving Berlin and Richard Rodgers. His demands were met, and the work was received with overwhelming critical acclaim. Samuel Barber set to work writing a piano sonata for the occasion, and requested Vladimir Horowitz to perform it. In 1950, the League of Composers, a society aimed at promoting new American works, met for the twenty-fifth anniversary of its inception. Commissioned by Irving Berlin and Richard Rodgers, it was first performed by Vladimir Horowitz and has remained a popular concert staple since. 26 was written by Samuel Barber in 1949 for the twenty-fifth anniversary of the League of Composers.
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