The Barber falls into an interesting subcategory of tough-minded pieces by composers undervalued as soft and not rigorous. (I love a lot of Barber, things like Summer Music for wind quintet (great free performance at Trinity Church Wall St., a few years back, the West Point wind quintet, a subset of their larger ensembles, and Knoxville: Summer of 1915--Eleanor Steber commissioned it, and her recording remains the gold standard.) As for the more steely-backed pieces in the supposedly softie 20th century American tradition, also essential are a few Copland works of his early period, chiefly the Piano Variations, a 12-tone piece with a few bars of stride (?) piano at roughly midpoint. Copland was a pretty good pianist, and this was one of his show-stoppers. I doubt he was one of Arnold Schoenberg's favorite composers, but he thought very highly of these variations. (And it wasn't just 12-tone pieces. Schoenberg had a much broader appreciation of a vast range of music that was nothing like his than most people realize -- he dug Gershwin and Poulenc and a lot of other guys.) I don't spend a lot of time listening to Arnold the S., but a great experience of a few years ago, in a series of jazz reinterpretations of his music, at the Austrian Cultural Forum--you have to sit in the balcony to catch the whole experience--Vijay Iyer with Steve Lehman and Tyshawn Sorey, some great shenanigans including spinning little jangly toys on the tom-tom and special guest addition Jose Davila on tuba for the last cut.
Thanks for smart and detailed comment! You might like to skim my post on American 20th century piano repertoire, it includes the Copland Variations, of course https://ethaniverson.com/write-it-all-down/
The Cleveland Orchestra will perform Dutilleux’s cello concerto Tout un monde lointain… this weekend. You will probably be able to catch it via internet radio at 4PM EST some upcoming Sunday (I'm guessing later in April). Check for it to appear in the listings found here: https://www.ideastream.org/upcoming-cleveland-orchestra-concerts-on-wclv
Hi Ethan! I remember Leon Fleischer giving a master class on Barber fugue at Indiana in the 70’s and telling us the subject quoted “I Loves You, Porgy.” I’d love to know what’s György Sebők had to say about the slow movement of the Bartok…
I finally tracked down a Martha Argerich performance of the Bartók (Concertgebouw, April 1979, on EMI/Warner). Wow. (Is this the recording you had in mind?)
For some reason I had heard early Argerich (Chopin) and 1985 Argerich (the Bach cello sonatas, with Micha Maisky), but hadn't heard her tackle 20th Century repertoire. Checking out the Bartók and Prokofiev concertos next.
The Barber falls into an interesting subcategory of tough-minded pieces by composers undervalued as soft and not rigorous. (I love a lot of Barber, things like Summer Music for wind quintet (great free performance at Trinity Church Wall St., a few years back, the West Point wind quintet, a subset of their larger ensembles, and Knoxville: Summer of 1915--Eleanor Steber commissioned it, and her recording remains the gold standard.) As for the more steely-backed pieces in the supposedly softie 20th century American tradition, also essential are a few Copland works of his early period, chiefly the Piano Variations, a 12-tone piece with a few bars of stride (?) piano at roughly midpoint. Copland was a pretty good pianist, and this was one of his show-stoppers. I doubt he was one of Arnold Schoenberg's favorite composers, but he thought very highly of these variations. (And it wasn't just 12-tone pieces. Schoenberg had a much broader appreciation of a vast range of music that was nothing like his than most people realize -- he dug Gershwin and Poulenc and a lot of other guys.) I don't spend a lot of time listening to Arnold the S., but a great experience of a few years ago, in a series of jazz reinterpretations of his music, at the Austrian Cultural Forum--you have to sit in the balcony to catch the whole experience--Vijay Iyer with Steve Lehman and Tyshawn Sorey, some great shenanigans including spinning little jangly toys on the tom-tom and special guest addition Jose Davila on tuba for the last cut.
Thanks for smart and detailed comment! You might like to skim my post on American 20th century piano repertoire, it includes the Copland Variations, of course https://ethaniverson.com/write-it-all-down/
The Cleveland Orchestra will perform Dutilleux’s cello concerto Tout un monde lointain… this weekend. You will probably be able to catch it via internet radio at 4PM EST some upcoming Sunday (I'm guessing later in April). Check for it to appear in the listings found here: https://www.ideastream.org/upcoming-cleveland-orchestra-concerts-on-wclv
Samuel barbers music has always meant a great deal to me. Thanks for a great post.
I will seek out the recordings you recommend. I am sorry to have missed Meng-Chieh's recital. He is a wonderful artist.
Hi Ethan! I remember Leon Fleischer giving a master class on Barber fugue at Indiana in the 70’s and telling us the subject quoted “I Loves You, Porgy.” I’d love to know what’s György Sebők had to say about the slow movement of the Bartok…
Great post, sir! I also like Anne Queffélec playing the Dutilleux very much.
I finally tracked down a Martha Argerich performance of the Bartók (Concertgebouw, April 1979, on EMI/Warner). Wow. (Is this the recording you had in mind?)
For some reason I had heard early Argerich (Chopin) and 1985 Argerich (the Bach cello sonatas, with Micha Maisky), but hadn't heard her tackle 20th Century repertoire. Checking out the Bartók and Prokofiev concertos next.