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"?The songs of Samuel Barber offer the beauty of his output in microcosm. 'Complete' in this context used to mean the 47 songs gathered in a Deutsche Grammophon 2CD set from 1994, but there are 65 songs here, making it the most complete survey yet recorded. Most of the lesser-known and unpublished songs on CD3 date back to Barber's student years, but he took up composing young, and was always inclined towards writing for voices and responding to poetry. He made his matchlessly evocative setting of Matthew Arnold's Dover Beach when he was just 21 years old. However, by the time of the Op.10 Songs, Barber's harmonies have thickened in texture and expressionist harmony: these are heroic numbers demanding an interpreter of heroic projection, another world away from the almost painfully confessional mood of the music which has made his name such as Knoxville: Summer of 1915. Nevertheless, they paint a vivid portrait of Barber himself, who had a fine baritone voice and would delight in performing his songs while accompanying himself at the piano. Barber could read Proust in French, Goethe in German, Dante in Italian and Neruda in Spanish, and his erudite choice of poets and poems reflected facets of his complex character: a restless melancholy on the one hand, and an impish wit on the other. His part-Irish ancestry drew him towards Joyce, Yeats and James Stephens, and his interest in his Celtic heritage prompted the writing of his best-known song-prompted the writing of his best-known song-cycle, the Hermit Songs Op.29. Much later in life, he returned to song (and to Joyce) with Despite and Still Op.41 and the Three Songs Op.45. Both collections are coloured by introspection and resignation, but they are masterpieces of the song-writer's art. Among his many recordings for Brilliant Classics, the pianist Filippo Farinelli has made complete surveys of the song output of Berg, Ravel, Dallapiccola and Jolivet, in conjunction with colleagues who have immersed themselves in the idiom. Here he is likewise joined by a trio of Italian singers who show themselves at home with the wistful, changeable moods of Barber the song-composer. Few composers in the history of "art song" can compare to the figure of Samuel Barber (1910-1981), whose innate gift for lyricism found expression in his exceptional baritone voice, and who would perform any number of his songs accompanying himself at the piano.
"?The songs of Samuel Barber offer the beauty of his output in microcosm. 'Complete' in this context used to mean the 47 songs gathered in a Deutsche Grammophon 2CD set from 1994, but there are 65 songs here, making it the most complete survey yet recorded. Most of the lesser-known and unpublished songs on CD3 date back to Barber's student years, but he took up composing young, and was always inclined towards writing for voices and responding to poetry. He made his matchlessly evocative setting of Matthew Arnold's Dover Beach when he was just 21 years old. However, by the time of the Op.10 Songs, Barber's harmonies have thickened in texture and expressionist harmony: these are heroic numbers demanding an interpreter of heroic projection, another world away from the almost painfully confessional mood of the music which has made his name such as Knoxville: Summer of 1915. Nevertheless, they paint a vivid portrait of Barber himself, who had a fine baritone voice and would delight in performing his songs while accompanying himself at the piano. Barber could read Proust in French, Goethe in German, Dante in Italian and Neruda in Spanish, and his erudite choice of poets and poems reflected facets of his complex character: a restless melancholy on the one hand, and an impish wit on the other. His part-Irish ancestry drew him towards Joyce, Yeats and James Stephens, and his interest in his Celtic heritage prompted the writing of his best-known song-prompted the writing of his best-known song-cycle, the Hermit Songs Op.29. Much later in life, he returned to song (and to Joyce) with Despite and Still Op.41 and the Three Songs Op.45. Both collections are coloured by introspection and resignation, but they are masterpieces of the song-writer's art. Among his many recordings for Brilliant Classics, the pianist Filippo Farinelli has made complete surveys of the song output of Berg, Ravel, Dallapiccola and Jolivet, in conjunction with colleagues who have immersed themselves in the idiom. Here he is likewise joined by a trio of Italian singers who show themselves at home with the wistful, changeable moods of Barber the song-composer. Few composers in the history of "art song" can compare to the figure of Samuel Barber (1910-1981), whose innate gift for lyricism found expression in his exceptional baritone voice, and who would perform any number of his songs accompanying himself at the piano.
5028421965147
Complete Songs
Artist: Barber / Ezra / Lombardi
Format: CD
New: Available $18.99
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"?The songs of Samuel Barber offer the beauty of his output in microcosm. 'Complete' in this context used to mean the 47 songs gathered in a Deutsche Grammophon 2CD set from 1994, but there are 65 songs here, making it the most complete survey yet recorded. Most of the lesser-known and unpublished songs on CD3 date back to Barber's student years, but he took up composing young, and was always inclined towards writing for voices and responding to poetry. He made his matchlessly evocative setting of Matthew Arnold's Dover Beach when he was just 21 years old. However, by the time of the Op.10 Songs, Barber's harmonies have thickened in texture and expressionist harmony: these are heroic numbers demanding an interpreter of heroic projection, another world away from the almost painfully confessional mood of the music which has made his name such as Knoxville: Summer of 1915. Nevertheless, they paint a vivid portrait of Barber himself, who had a fine baritone voice and would delight in performing his songs while accompanying himself at the piano. Barber could read Proust in French, Goethe in German, Dante in Italian and Neruda in Spanish, and his erudite choice of poets and poems reflected facets of his complex character: a restless melancholy on the one hand, and an impish wit on the other. His part-Irish ancestry drew him towards Joyce, Yeats and James Stephens, and his interest in his Celtic heritage prompted the writing of his best-known song-prompted the writing of his best-known song-cycle, the Hermit Songs Op.29. Much later in life, he returned to song (and to Joyce) with Despite and Still Op.41 and the Three Songs Op.45. Both collections are coloured by introspection and resignation, but they are masterpieces of the song-writer's art. Among his many recordings for Brilliant Classics, the pianist Filippo Farinelli has made complete surveys of the song output of Berg, Ravel, Dallapiccola and Jolivet, in conjunction with colleagues who have immersed themselves in the idiom. Here he is likewise joined by a trio of Italian singers who show themselves at home with the wistful, changeable moods of Barber the song-composer. Few composers in the history of "art song" can compare to the figure of Samuel Barber (1910-1981), whose innate gift for lyricism found expression in his exceptional baritone voice, and who would perform any number of his songs accompanying himself at the piano.
        
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