Composer: Samuel Barber
Works: Symphony No. 2 (1944), Cello Concerto (1946), Medea – Suite (1947)
Performers: Zara Nelsova (cello), New Symphony Orchestra, conducted by Samuel Barber
Recording: Recorded in 1950
Label: Decca
Samuel Barber’s contributions to American classical music resonate with a distinctive blend of lyrical beauty and emotional depth, evidenced in this compilation of his works from the 1940s. The Symphony No. 2, written during World War II while Barber served as a corporal in the USAAF, reflects the tumultuous spirit of its time. Premiered by the esteemed Serge Koussevitzky and the Boston Symphony Orchestra, the symphony, though often overshadowed by Barber’s more famous compositions, captures a sense of angst and striving amidst the backdrop of war.
The performance of the Symphony No. 2 reveals a tension that mirrors Barber’s own struggles during its composition. The first movement brims with urgency, driven by an insistent rhythmic pulse that propels the music forward. The interpretation by the New Symphony Orchestra, under Barber’s own direction, allows for a raw emotionality that is palpable, especially in the finale where darting strings intersect with assertive brass in a vivid portrayal of chaos and resolution. While the thematic material may lack the polish of Barber’s later works, the atmosphere is compelling. Notably, the second movement, often performed independently as “Nightflight,” juxtaposes moments of reflection with an undercurrent of turmoil, showcasing Barber’s ability to evoke complex emotional landscapes.
The Cello Concerto presents a striking contrast to the symphony’s darker tones. Commissioned for the remarkable cellist Raya Garbousova, it benefits from a freedom of expression that Barber often found elusive in his symphonic writing. Nelsova’s performance is particularly noteworthy. She navigates the work’s technical demands with a warm and full-bodied tone, embracing both the lyrical and dramatic elements of the score. The lush themes, especially in the “Molto Allegro” finale, resonate with a sense of nostalgia that is quintessentially Barber. The dialogue between the cello and the orchestra is seamless, creating a sense of unity that elevates the entire performance.
The Medea Suite, derived from Barber’s ballet score for Martha Graham, serves as a poignant culmination of these three works. The seven movements encapsulate the tragic essence of the Medea myth, with Barber’s orchestration moving fluidly from lush, sweeping gestures to intimate, reflective passages. The “Choros” movement, with its ethereal quality, draws parallels to the works of contemporaries like Arthur Bliss, showcasing Barber’s ability to meld emotional depth with orchestral color. The performance here is imbued with a sense of dramatic flair that brings the narrative to life, revealing the intricacies of Barber’s musical storytelling.
Recording quality, while a product of its time, presents a warm and immediate sound that captures the raw energy of the performances. The engineering, though lacking the refinement expected in contemporary recordings, is robust, allowing the listener to engage with the music on a visceral level. This transfer from the original 1950 sessions, while grainy, remains listenable, and the clarity of the orchestral textures provides an authentic glimpse into Barber’s compositional world.
Barber’s Symphony No. 2, Cello Concerto, and Medea Suite reveal a composer in the midst of a profound artistic evolution. The juxtaposition of anguished introspection and lyrical beauty encapsulates the duality of human experience, rendered with an immediacy that resonates even decades later. This collection, underpinned by performances steeped in historical context and emotional authenticity, stands as a vital testament to Barber’s legacy, offering both devotees and new listeners alike a compelling entry point into his musical oeuvre.
