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76 of 80 people found the following review helpful:
5.0 out of 5 stars
Barber, the Modernist Romantic American, June 1, 2000
These are some of Barber's most memorable works, and this remains the best recording I have heard of the "Adagio" and the "Dance of Vengeance."First, then, the Essays, which I have not heard before. They are full of wonderful, powerful surprises. The first two were completed in 1938 and 1942, and they bear much similarity to his other earlier works, noticeably the Adagio (the repeated opening "crushed" chord and resolution). They bear the mark of a brilliant, if unfocused young composer (he was 28 and 32, respectively): a musical idea is presented, is not much developed, and soon gives way, with little transition, to a new idea. Each idea is fresh, and vibrant-- I can sense Barber writing as quickly as he can, to get each idea onto the page before he tires of it. Barber was, for a long time, a Romantic composer stuck in the twentieth century. It seems to have been a mark of pride for him to stick with the older style, and yet at times he seems uncomfortable with it. Though he was born too late (as it seems he thought), he is occasionally tempted to use the newer, emancipated dissonances of the modern era. In his Romantic music, this sounds out of place. However, by the time of the Third Essay, completed in 1978 (forty years later!), he had discovered his own sound-- one that did not rely so heavily on European Romanticism. It was at this point that he asserted his birthright as a twentieth-century American: rhythm. He finally allowed himself to be influenced by the likes of Stravinsky and Bartok, and his music became radically different. The contrast cannot be heard with more clarity than on this recording. The "Adagio for Strings" has been called the last great Romantic orchestral work, played (in its early form) for the funeral of John F. Kennedy; "Medea's Dance of Vengeance" was arranged and choreographed by the Star of Indiana Drum and Bugle Corps (brilliantly, I might add) in 1993. The "Adagio" is perhaps Barber's best known work, which is surprising, considering it was written by a 26-year-old. I have yet to hear the original string quartet played as I would like to hear it (and I have heard Kronos' version). The setting for choir, as "Agnus Dei" is magnificent (my favorite recording is by the Dale Warland Singers of Minnesota). This is a wonderful, passionate, and profound recording of the orchestrated version. As for "Medea," it is certainly among Barber's finest works. Here, there is no question: by the time of its completion, Barber was firmly grounded in the twentieth century. He uses percussion instruments and registrations with the deftness of a master. The meditation section of "Medea" creates a dark, intense mood, reflecting Medea's psychological agony over Jason's betrayal. The "dance" section is fiery, vicious, and relentless; I can easily envision Medea dancing wildly, savagely, over the horrific bodies of her children. The sudden appearance of her father from heaven is a ethereal moment in the music (my one complaint: the trombonist is overblowing!), and Medea's insane laughter allows Barber to end with a bang. I don't think much of the "Overture," but then, I didn't think much of "School for Scandal," anyway, so maybe it's suitable for the play, as he intended it. I don't hear anything particularly "Baroque" about the music, but it's a decent overture (I wish he'd written an opera for it!) At any rate, it's a good warmup for the listener's ears. All in all, a wonderful CD that should be on the shelf of anyone who loves music of the past two centuries.
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~ Samuel Barber
~ Samuel Barber
~ Ludwig van Beethoven
by Samuel Barber 
