Symphony 1 / Piano Concerto 1
- Is Discontinued By Manufacturer : いいえ
- 製品サイズ : 14.27 x 12.5 x 0.84 cm; 108.86 g
- メーカー : RCA
- EAN : 0090266073221
- レーベル : RCA
- ASIN : B000003F3J
- ディスク枚数 : 1
- Amazon 売れ筋ランキング: - 1,513,206位ミュージック (の売れ筋ランキングを見るミュージック)
Both major works on this release are rarely performed and rarely recorded--but they shouldn't be. The First Symphony can stand right beside Aaron Copland's Third Symphony and Roy Harris's Third Symphony. In fact, Barber's has more complications than either of the other works, but is structurally and tonally their equal. The Piano Concerto was itself premiered by John Browning, who had considerable input on the work, along with a last-minute suggestion in the final movement from the great Vladimir Horowitz that allowed a human being to actually play it. It's no cakewalk and should have more currency than it does. --Paul Cook
Barber's First Symphony is a remarkably accessible work written in 1936 when Barber was 26. In Program Notes, Barber describes the symphony in this way: "The form of my Symphony in One Movement is a synthetic treatment of the four-movement classical symphony. It is based on three themes of the initial Allegro non troppo, which retain throughout the work their fundamental character. The Allegro ma non troppo opens with the usual exposition of a main theme, a more lyrical second theme, and a closing theme. After a brief development of the three themes, instead of the customary recapitulation, the first theme in diminution forms the basis of a scherzo section (vivace). The second theme (oboe over muted strings) then appears in augmentation, in an extended Andante tranquillo. An intense crescendo introduces the finale, which is a short passacaglia based on the first theme... over which, together with figures from other themes, the closing theme is woven, thus serving as a recapitulation for the entire symphony." (Heyman 1994, 140) Couldn't have said it better myself, but what Barber leaves out is how truly beautiful the work is. Barber had an ear for the long line and it shows in this intensely dramatic symphony.
Barber wrote the Piano Concerto FOR John Browning. Before he began writing it, Browning spent three or four days with the composer who asked him to play everything he knew so that Barber could tailor the work to Browning's personality. As a pianist myself, I have always found it difficult to love 20th century piano concertos. Unlike with 20th century orchestral works, I am just not moved by them. John Browning plays spectacularly as usual. I first heard Browning 50 years ago when he was about 30 and remember my impression that he was a pianist with unbelievable technique. (I also heard Leon Fleisher that same season and thought he played with far more emotion than Browning.) The Piano Concerto is a virtuosic tour de force with much that is interesting but little that moves me.
For Souvenirs, conductor Slatkin serves as the other two hands. This is a six-movement nostalgic work that includes Waltz, Schottische, Pas de deux, Two-Step, Hesitation-Tango, and Galop. Browning studied with Rosina Lhévinne at Juilliard. Slatkin studied violin, viola, and piano. Although not perfectly together at times, Browning and partner are technically well-matched for Souvenirs. The piece is fun to hear.
This is a an interesting album. For me the major work is the Symphony 1 and it is played par excellance. The Piano Concerto played by its dedicatee is self-recommending and competes with the performance with Browning/Szell. The sound is superb in every respect. VERY HIGHLY RECOMMENDED!!!