Way back when this recording was first issued in 1960, it was a boon to fans of the neo-Romantic music of Samuel Barber. By that time, Barber's reputation had already started to fade and most of the works here had no previous recorded performances. Amazingly, many of them remained unchallenged until the rise of digital recordings in the '80s. Even more amazingly, most of them are still as good if not better than subsequent recordings by the likes of David Zinman or Neeme Järvi. Vladimir Golschmann was an ardent advocate for ...
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Way back when this recording was first issued in 1960, it was a boon to fans of the neo-Romantic music of Samuel Barber. By that time, Barber's reputation had already started to fade and most of the works here had no previous recorded performances. Amazingly, many of them remained unchallenged until the rise of digital recordings in the '80s. Even more amazingly, most of them are still as good if not better than subsequent recordings by the likes of David Zinman or Neeme Järvi. Vladimir Golschmann was an ardent advocate for Barber's music and his interpretations here of everything from the charming Serenade for string orchestra through the passionate Music for a Scene from Shelley and the dramatic Second Essay for Orchestra to the ironic chamber opera A Hand of Bridge are wholly convincing. The Symphony of the Air, the then-current nom de musique of what was once the RCA Symphony, was a tough and powerful ensemble and it willingly gave everything it had to Barber's lushly scored music. The...
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