CDXCI. BARBER, Samuel: Concerto for Piano, Op. 38

CDXCI. BARBER, Samuel (1910-1981)

Concerto for Piano, Op. 38 (1960-62)
1. Allegro appassionato (12:33)
2. Canzone. Moderato (6:16)
3. Allegro molto (7:57)
Keith Jarrett, piano
Rundfunk-Sinfonieorchester Saarbrücken
Dennis Russell Davies, cond.

After stunning both the jazz and hippie world with his playing on Charles Lloyd's Forest Flower (see Non-Classical Post ccxxxvi), Jarrett played with Miles, signed with ECM and formed a trio with Gary Peacock and Jack DeJohnette, as well as doing many concerts and recordings of his solo piano improvisations.

In the early 80's, he began to record some of the classical literature. We are fortunate to have this recording, because shortly afterwards, he hurt his hand in a skiing accident, and -- with a few exceptions -- never returned playing concerti again.

Since suffering two strokes in 2018, he has been unable to play piano.

**

SB, 1944

First movement

After a series of cascading crashes, the solo piano gives way to a more lyrical environment. This music reminds one of both Prokofiev and Hindemith, but that's not meant to suggest that Barber does not have his own individual style. There is continuity between ideas that moves quickly between various atmospheres.

Motifs appear in the orchestral palette only to be overtaken by the piano, and visa versa. Barber is a wonderful orchestrator, and makes great use of individual instruments in play with the soloist.

Second movement

Based on Canzone, written in 1961 for flute and piano. An exchange between flute and oboe leads in to the piano -- "like a swimmer joining others in calm water" (Paul Griffiths).

The orchestra and soloist are in total harmonic agreement for most of the movement.

Third movement

An exciting start, with a pulsating bass line reminiscent of the last movement of Prokofiev's Seventh Piano Sonata (see Post CCCLXXXVII).

The rhythmic propulsion of a 5/4 meter is explosive! Barber inserts moments of tranquility in between the constant, consistent energetic movement.

Jarrett really shows off his technique here.