<<  -- 6 --  Jennifer Paull    TIMEWARP

One can even find reference to the entire commissioning fee having been graciously restored to the composer. History is often 'corrected' by those who wish to add whitewash to a dimmer reality. It's difficult to establish the correct version of events. However, it is sad that composers of Samuel Barber's stature and talent are obliged to accept insult, misunderstanding, and a marked lack of respect. Deplorably, this has been more the rule throughout the history of music, than the exception to it.

The Concerto's opening movement is almost Brahmsian in its nostalgia and lyricism. The first theme is presented immediately by the soloist, the other, first given by the clarinet, is rhythmically animated by the use of the Scottish snap. After all, Barber had just been to Scotland when he wrote it. A souvenir, perhaps?

The expressive Cantabile of this first movement carries into the Adagio. Here, the oboe intones a plaintive melody as the main theme, from which the soloist weaves a rhapsodic elaboration.

'I like to give my best themes to the oboe.'

Again, this brings Brahms to mind with the beauty of the slow movement of his Violin Concerto and the solo oboe introduction to the slow movement. The Spanish violinist Pablo de Sarasate refused to perform the Brahms concerto saying 'Do you think that I would stand there with my violin in my hand and listen while the oboe plays the only melody in the entire piece?' For whichever reason, it is unclear, Heifetz in his turn refused to play the Barber concerto.

Continue >>