Composer: Samuel Barber
Works: Violin Concerto, Op. 14 (1941); Souvenirs – Ballet Suite, Op. 28 (1952); Serenade for Strings, Op. 1 (1928); Music for a Scene from Shelley, Op. 7 (1935)
Performers: James Buswell (violin), Royal Scottish National Orchestra, Marin Alsop (conductor)
Recording: Recorded 27/1/01 (Violin Concerto), 11-12/5/00 (Souvenirs), 3-4/5/00 (remainder) in the Henry Wood Hall, Glasgow. DDD
Label: NAXOS
Samuel Barber, a towering figure in American classical music, is often celebrated for his lyrical melodies and rich harmonies. His Violin Concerto, composed in 1941, stands as one of his most beloved works, capturing both the technical prowess of the violin and the emotional depth characteristic of Barber’s style. This recording, featuring violinist James Buswell and the Royal Scottish National Orchestra under Marin Alsop, presents a refreshing interpretation that revitalizes this staple of the violin repertoire.
Buswell approaches the first movement with a thoughtful interpretative lens, allowing for a nuanced exploration of its intricate melodic lines. His phrasing is particularly commendable, as he imbues the long arching phrases with a sense of longing and introspection. While some might lament a perceived lack of warmth in his tone—an observation echoed by other reviewers—Buswell’s slightly acidic edge can be seen as a means of emphasizing the work’s tension and complexity. The orchestra, while occasionally thin in string sound, compensates with precise coordination and an attentive accompaniment, notably in the dashing Presto section, where the trumpet’s discreet chatter at 2:55 adds a layer of texture that enhances the overall effect.
The emotional high point of the concerto is undoubtedly the Andante, where the oboe’s haunting solo at the outset sets a reflective mood, illustrating Barber’s gift for writing lyrical and poignant melodies. Here, the orchestral balance shines, although the strings, at times, could benefit from a more robust presence to fully convey the harmonic richness inherent in Barber’s scores. The performance does, however, exhibit excellent interaction between soloist and orchestra, particularly highlighted in the spirited exchanges during the finale.
Turning to the other works on the disc, the Ballet Suite Souvenirs is a delightful confection, steeped in the atmosphere of the Palm Court at the Plaza Hotel. Barber’s stylistic influences from Ravel and Poulenc are palpable, particularly in the buoyant Two-step and the sultry Hesitation Tango, which captures the essence of a romantic escapade. Alsop’s direction here is exemplary, drawing forth a vivid and lively performance from the orchestra that encapsulates the whimsical essence of Barber’s ballet music. The climactic moment in the Tango, executed with voluptuous flair by the horn section, exemplifies the ensemble’s capacity for dramatic peaks.
Barber’s Serenade for Strings, while not as compelling, is tenderly rendered by the RSNO, though it lacks the same vibrancy found in the other pieces. In contrast, Music for a Scene from Shelley, with its sweeping romanticism, reveals Barber’s early mastery of orchestral color and emotional narrative, echoing the grandiosity of his later works. The piece unfolds with a dramatic arc that invites comparison to Howard Hanson’s symphonic style, yet retains Barber’s unique voice.
This Naxos recording serves as an accessible introduction to Barber’s oeuvre, with Buswell’s interpretations offering fresh insights that may reinvigorate listeners familiar with the standard performances. While the recording’s sound quality does exhibit some limitations, particularly in the strings, the overall clarity and spatial dimension are commendable. The selection of works, especially the inclusion of Souvenirs, makes this disc not only a valuable addition for Barber enthusiasts but also a worthy exploration for those new to his music. A compelling performance that invites both reflection and enjoyment, this recording underscores Barber’s enduring appeal in the classical canon.
