Samuel Barber

Roberta Alexander’s outstanding CD of vocal music by Samuel Barber demonstrates the soprano’s understanding of the composer’s musical language and emotional content … The Netherlands Radio Philharmonic plays very well under the tasteful leadership of Edo de Waart.

This sparkling suite for violin and piano came into being when the composer had to adapt his incidental score for a production of Shakespeare's play to the impending absence of the chamber orchestral. The result is a brilliant piece for violin and piano, which the composer quickly released in a four-movement version. There are other recordings of the chamber orchestra suite in five-movements that duplicate only three of the movements of this version. Violinist Gil Shaham and pianist André Previn are ideal partners in this brilliant performance. The four movements allow Shaham to show four sides of his violinist's personality: He skips and plays in carefree fashion in the opening movement, indulges in the grotesquery and parody of the second, gets to play the romantic in the garden scene of the third movement, and dazzles with virtuosity in the final hornpipe. Previn's part is more than mere accompaniment; the piano often has a large part of the mood of the music and his contribution is, to use a word already employed here, ideal.

Older Ives enthusiasts may recall the First Piano Sonata in performances by William Masselos who played the work for the first time in 1954, the year the composer died. Odd, but familiar in Ives, for such a masterpiece to have to wait 45 years to be heard! Masselos made two recordings (nla) which established the character of this richly inventive work. The one by Noel Lee (on a Nonesuch LP—only available in the USA) made in the late 1960s is almost as impressive. Joanna MacGregor's recording is now a landmark since there is effectively no competition in the British catalogue: DJF found little to recommend in John Jensen's performance on Music and Arts (9/90) so it is best to compare MacGregor, who is certainly busy in the recording studios these days, with these earlier Americans.

An imaginative mixture of the popular and the unusual. Barber’s only quartet has at its heart the famous Adagio for Strings: the latter is an arrangement of the second of the quartet’s two movements. That Adagio – which here benefits not only from the unfamiliarity of the chamber original but also from the Duke’s sensitively understated approach on their first recording for Collins Classics – is here surrounded by some captivating faster music (including a brief return to the opening Molto allegro’s ideas). And Robert Maycock’s excellent booklet notes hint at what those famous seven minutes of slow, sad passion in particular could really be said to be about: young homosexual love in the Austrian woods. Thirty years later, in 1966, another American in Europe, and still in his twenties, wrote his first string quartet, though it’s unlikely to be a direct reflection of love, this time in Paris.

For all the agony as to the status of classical music in the modern musical landscape, the three 20th century string quartets on this fine French release can be said to have entered the repertory, with a reach that extends far beyond the U.S. They go quite well together, which is the first point in favor of France's Quatuor Diotima here; both Steve Reich's Different Trains, for string quartet and tape, and George Crumb's Black Angels for electric quartet feature an artificially enhanced string quartet, and even Samuel Barber elected to "enhance" his String Quartet in B minor, Op. 11, by orchestrating its central movement and making it into the famous Adagio for strings. Highly recommended.

Hailed by The Times for its ‘exhilarating performances’, the Kaleidoscope Chamber Collective was dreamed up in 2017 by Tom Poster and Elena Urioste, who met through the BBC Radio 3 New Generation Artists scheme. The Collective operates with a flexible roster which features many of today’s most inspirational musicians, both instrumentalists and singers, and its creative programming is marked by an ardent commitment to celebrating diversity of all forms and a desire to unearth lesser\-known gems of the repertoire. This ethos is clear in their repertoire selection for this their début recording. The Piano Quintet is one of Amy Beach’s better\-known works, which the KCC collectively fell in love with during a residency at the Cheltenham festival. Composed in 1907, the work reflects the strong influence of the music of Brahms.