telynor's Full Review: Music of Samuel Barber / Slatkin, St. Louis SO
American Samuel Barber (1910-1981) wrote what I consider to be early modern music, marking the shift between Romanticism and Modern styles in classical compositions. His work is emotional and strong, and gives the listener both artistic mastery, and the exploration of strong feelings.
Of the modern conductors and orchestras out there that are currently interpeting the work of Barber, none have done it best than Leonard Slatkin and the Saint Louis Symphony Orchestra. Here taking the six best known pieces of Barber's work, and interpet them flawlessly. The famous Adagio for Strings is the main reason to buy this cd; it may have become a bit overused and hackneyed in it's inclusion at the funeral of almost every famous personage, but it is worth the listen. Every time I do, I still find it fresh and never tiresome.
The School for Scandal Overture, Op. 5
Starting off in what I like to think of as a 'furious' measure, this was intended as an overture to Richard Sheridan's famous play of the same name. The music shifts between two themes, a sprightly, almost mischeivous one, and a more subtle, romantic one that play off each other through the selection. Both are very energetic and compliment each other perfectly, with a wonderful blend of strings and woodwinds predominating, and comes to an end with a grand flourish.
Adagio for Strings, Op. 11
Do you need a good cry? Want to give vent to those sad feelings building up in you? This is the track for you. I consider this to be one of the most moviing pieces of music ever written. It's also Barber's most known piece of work, and worth the effort to seek out. The sweep and minor tones of the strings pull the listener into deep introspection, and don't be surprised if you start crying. Only twenty-five when he wrote the Adagio, this is Barber's most sensitive and heartfelt composition.
Essay for Orchestra no 1, Op. 12
Usually performed as a set, these three are usually performed together. The first essay is stately, with strong strings and deep minor tones that may remind some of early movie music. Ignore that, find a comfortable chair, and let yourself explore this music. It has very tragic overtones that move gradually into a lighter and more quick pace. This and the Adagio were premiered by Arturo Toscannini in 1938.
Essay for Orchestra no 2, Op. 17
Not quite as heavy as the previous essay, this one has a more upbeat measure and pace, and a much lighter tone, a perfect antidote to the first essay.
Essay for Orchestra no 3, Op. 47
I will be honest, this is not my favorite cut on this cd. It's very abstract and very dissonate, without anything to really tie it all together.
Medea's Meditation and Dance of Vengeance, Op. 23a
Written for the play based on the classical Greek myth, is a return to a furiously paced, maddening selection. Medea, betrayed and spurned by Jason for a younger woman, decides to murder both Jason's new wife, and the children that Medea has had with Jason. You might think of this as Hell hath no Fury. Written as a ballet for Martha Graham, it's a chilling work to listen to.
So, if you want to find some twenty century classical music that isn't a loud, chaotic mess, try Barber and Slatkin's interpetations. You won't be disappointed.
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