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
Recording: 27/1/01 (Violin Concerto), 11-12/5/00 (Souvenirs), 3-4/5/00 (remainder) in the Henry Wood Hall, Glasgow
Label: NAXOS
Samuel Barber, a quintessential American composer, occupies a unique place in the pantheon of 20th-century music, particularly renowned for his lyrical and emotive style. His Violin Concerto, composed in 1941, has garnered immense popularity, characterized by its lush melodies and poignant emotional depth. The work’s historical context is notable, as Barber crafted it during a tumultuous period in world history, imbuing it with a sense of both yearning and exuberance that resonates with audiences. This latest recording, featuring James Buswell with the Royal Scottish National Orchestra under the baton of Marin Alsop, seeks to encapsulate Barber’s romantic ethos while navigating the complexities of orchestration and soloist interaction.
Buswell’s interpretation of the Violin Concerto is deeply engaging, exhibiting a rich emotional palette that captures the work’s essence. The opening “Andante sostenuto” unfolds with a tender lyricism, where Buswell’s phrasing is notably expressive, conveying the introspective qualities of Barber’s writing. His technical command becomes apparent in the second movement, “Allegro,” where the interplay of rhythmic vitality and lyrical intensity is deftly handled. However, one cannot overlook the slightly wiry quality of Buswell’s instrument, a 1720 Stradivarius, which raises questions regarding the resonance in the recording environment. While the violin’s tone is not unpleasing, it lacks the lush warmth typically associated with a modern romantic concerto, a factor that subtly detracts from the overall impact of this performance.
The Royal Scottish National Orchestra, under Alsop’s direction, brings a vibrant energy to the recording. The ensemble displays an admirable cohesion, particularly in the “Souvenirs” ballet suite, which is imbued with a delightful sense of nostalgia and charm. Alsop’s interpretation here reflects Barber’s intent for the work to evoke a lighthearted, yet affectionate reminiscence of early 20th-century America. The balance between orchestral color and solo lines is effectively maintained, allowing the woodwinds and strings to shine in their respective passages. The engineering quality of this Naxos release is commendable, with clarity and spatial separation that allows individual instruments to be discerned within the full orchestral texture.
The remaining works on this disc, including the “Serenade for Strings” and “Music for a Scene from Shelley,” further exemplify Barber’s early compositional voice. The “Serenade,” originating from Barber’s youthful endeavors, displays a tunefulness that remains infectious and accessible, while “Music for a Scene from Shelley,” evokes an impressionistic sound world reminiscent of Debussy. These pieces, while perhaps less substantial than the concerto, provide a valuable glimpse into Barber’s evolving style and thematic concerns.
This recording emerges as a commendable contribution to Barber’s discography, showcasing the virtues of Buswell’s interpretation and Alsop’s adept direction. While the slight tonal concerns of the violin in the concerto may prompt some reservations, the overall artistry displayed in the performances and the high-quality production values render this disc a worthwhile addition for both connoisseurs and newcomers to Barber’s music. The synthesis of lyrical beauty, rhythmic vitality, and orchestral color in this recording reinforces Barber’s standing as a pivotal figure in American classical music.
