I don’t know just yet…the great thing about offering high quality service is that if someone doesn’t appreciate the value of what you are giving them, they don’t come back. I do a good job with everyone’s haircut, and I treat everybody like a friend because I really appreciate everyone’s business. It makes my existence possible. If someone comes in and doesn’t want to pay the price I’m asking, they leave. If they get in my chair and don’t feel my services were worth what it cost, then they don’t come back. I really love my shop because I’m not catering to cheap people who only spend five dollars on an uncomfortable haircut that they’re gonna complain about anyway. I give a quality service, at a reasonable price, and I think everyone gets what they want. Plus, I’m my own boss and I do whatever I want, so I’m still searching for the worst part of my job.
His music caught the ear of Arturo Toscanini , who led the premieres of two works: the Essay for Orchestra (later retitled First Essay for Orchestra ) and the Adagio for Strings , one of the best-known works of the 20th century. The essay form — Barber's own creation, something of a musical "argument" in which one "thought" or melody is the seed from which an entire single movement springs — would be something the composer would return to at subsequent points in his life, composing a Second Essay in 1942 and a Third Essay in 1978. His beautifully lyric Violin Concerto (1940) is one of the finest string concertos of the 20th century, with a razzle-dazzle finale and a richly expressive opening movement. He also wrote a piano concerto (which won him a Pulitzer Prize) and a cello concerto. For Vladimir Horowitz , he composed the Piano Sonata in E-flat minor (1949), making it as challenging as possible. Barber's other works for the piano include the Nocturne (Homage to John Field) of 1959 and the beautiful Excursions, Op. 20 (1942-44).