The anniversaries of the births of Chopin and Robert Schumann have tended to eclipse the hundredth anniversary of the birth of Samuel Barber--but not entirely. On the evening of November 18 the pianist Maxim Anikushin, in collaboration with three other musicians, paid tribute to Barber by offering an all-Barber concert at the Bruno Walter Auditorium of the New York Public Library for the Performing Arts. The very interesting program notes for the concert also merit mention.
The first half of the program consisted of solo piano works. Anushkin set the bar very high with a stunning performance of Barber's Sonata for piano, Op. 26. The confident, expressive performance revealed the strong points of this work. Russian (read Prokofief) and Germanic (read Bach, Beethoven and Brahms) aspects were highlighted. For the second work on the program, the four Excursions,the pianist was deftly able to switch into an American mode, bringing out all of the jazz, blues, and folk elements very engagingly. He then turned to a 19th century approach with a beautiful rendering of the nocturne before treating the audience to three very early piano works by Barber, composed when he was 13 or 14 and published by his father. These works ("Love Song,""To My Steinway,"and Minuet) show a relatively advanced level of pianism along with a confident compositional ability. With their very sentimental melodies and harmonies these works reflect Barber's conservative leanings, even at a young age.
In the second half the program, the range of Barber's music was further explored with a powerful and highly expressive performance of the Sonata for violoncello and piano. This performance brought back memories of my performance of this work with Virginia Hudson. The rhythms are so tricky and there are lots of ensemble challenges! A lovely performance of Barber's Canzone for flute and piano revealed more than a little influence of Menotti.
To close the program, five songs were selected. Two songs from Barber's Hermit Songs framed the set and what is perhaps Barber's best-known song, "Sure on this shining night," was the centerpiece. In my opinion, it is in his songs that Barber reveals his greatest originality and might even be labeled "Barber the progressive." The program notes gave an amusing anecdote about "Sure on this shining night" that I don't think I had heard before. Apparently, Barber had just moved into a new apartment and had a new telephone number. He wanted to call Menotti, whom he knew was at the apartment. He could not remember the new number so he asked the operator for it. She would not release the number even though he said it was his number and he just could not remember it. The operator apparently said that if he were indeed THE Samuel Barber he should know the beginning of "Sure on this shining night." He sang it to the operator from a telephone booth and was given the number.
To close the program, five songs were selected. Two songs from Barber's Hermit Songs framed the set and what is perhaps Barber's best-known song, "Sure on this shining night," was the centerpiece. In my opinion, it is in his songs that Barber reveals his greatest originality and might even be labeled "Barber the progressive." The program notes gave an amusing anecdote about "Sure on this shining night" that I don't think I had heard before. Apparently, Barber had just moved into a new apartment and had a new telephone number. He wanted to call Menotti, whom he knew was at the apartment. He could not remember the new number so he asked the operator for it. She would not release the number even though he said it was his number and he just could not remember it. The operator apparently said that if he were indeed THE Samuel Barber he should know the beginning of "Sure on this shining night." He sang it to the operator from a telephone booth and was given the number.
I was also reminded that Barber's middle name is Osborne. Imagine having to go through life with the initials S.O.B.!
This wonderful program certainly did Barber justice and reminded the audience of his important place in the annals of music.
No comments:
Post a Comment