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Barber: Orchestral and Chamber Works

Editorial Reviews

All Music Guide - James Leonard
While not the best single set of the music of Samuel Barber ever recorded -- Thomas Schippers' mid-'60s recording with the New York Philharmonic will hold that title from now unto perpetuity -- this two-disc set of recordings by Leonard Slatkin and the St. Louis Symphony is still not to be missed by anyone who loves Barber's neo-Romantic music. Slatkin's approach to Barber is strongly emotional and powerfully dramatic. His stormy interpretations of Barber's three "Essays for Orchestra" make them sound like the American descendants of Brahms' "Tragic Overture." His witty interpretation of the "School for Scandal Overture" makes it sound like latter-day Mendelssohn. His ...
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Editorial Reviews

All Music Guide - James Leonard
While not the best single set of the music of Samuel Barber ever recorded -- Thomas Schippers' mid-'60s recording with the New York Philharmonic will hold that title from now unto perpetuity -- this two-disc set of recordings by Leonard Slatkin and the St. Louis Symphony is still not to be missed by anyone who loves Barber's neo-Romantic music. Slatkin's approach to Barber is strongly emotional and powerfully dramatic. His stormy interpretations of Barber's three "Essays for Orchestra" make them sound like the American descendants of Brahms' "Tragic Overture." His witty interpretation of the "School for Scandal Overture" makes it sound like latter-day Mendelssohn. His gaudy interpretation of the "Medea's Dance of Vengeance" sounds like latter-day Strauss. His singing, soaring, and swelling interpretation of the ever-popular "Adagio for Strings" makes it sound like latter-day Mahler. With the sweet-toned Elmar Oliveira, Slatkin's interpretation of Barber's "Violin Concerto" is achingly lyrical and eloquently affecting, making it sound like latter-day Tchaikovsky. While Schippers goes deeper and further into Barber's music, his recordings cannot be denied -- Schippers' Barber always sounded only like Barber -- Slatkin's recordings are still well worth hearing and, with the bonus recordings of chamber music and piano music by members of the New York Philharmonic, arguably more representative. EMI's early digital sound is a bit dry and recessed, but clean and clear.
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Product Details

  • Release Date: 7/3/2001
  • Label: Emi Classics
  • UPC: 724357428729
  • Catalog Number: 74287

Tracks

Disc 1
  1. 1 Adagio for strings (arr. from 2nd mvt. of String Quartet), for string quartet/string orchestra), Op. 11 - Samuel Barber & Saint Louis Symphony Orchestra (9:13)
  2. 2 The School for Scandal, overture for orchestra, Op. 5 - Samuel Barber & Saint Louis Symphony Orchestra (8:35)
  3. 3–5 Violin Concerto, Op. 14 - Samuel Barber & Elmar Oliveira (24:21)
  4. 4 Essay for orchestra, Op. 12 - Samuel Barber & Saint Louis Symphony Orchestra (9:22)
  5. 5 Second Essay, for orchestra, Op.17 - Samuel Barber & Saint Louis Symphony Orchestra (10:58)
  6. 6 Medea's Meditation and Dance of Vengeance (from "Medea"), Op. 23a - Samuel Barber & Saint Louis Symphony Orchestra (13:08)
Disc 2
  1. 1–3 Cello Sonata, for cello & piano, Op. 6 - Samuel Barber & Chris Craker (18:57)
  2. 2 Canzone (Elegy), for flute and piano (arr. from 2nd mvt. of the Piano Concerto), Op. 38a - Samuel Barber & Jeanne Baxtresser (4:25)
  3. 5–8 Excursions (4), for piano, Op. 20 - Samuel Barber & Chris Craker (14:04)
  4. 6 Nocturne "Hommage to John Field", for piano, Op. 33 - Samuel Barber & Chris Craker (4:28)
  5. 10–15 Summer Music, for wind quintet, Op. 31 - Samuel Barber & Jeanne Baxtresser (11:36)
  6. 11 Souvenirs suite, for piano 4-hands, Op. 28: Pas de deux - Samuel Barber & Chris Craker (4:51)
  7. 12 Souvenirs suite, for piano 4-hands, Op. 28: Two-step - Samuel Barber & Chris Craker (2:03)
  8. 13 Third Essay, for orchestra, Op. 47 - Samuel Barber & Saint Louis Symphony Orchestra (12:11)
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Album Credits

Performance Credits
Leonard Slatkin Primary Artist
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