This famous recital, at which Samuel Barber's Hermit Songs received its world premiere, is justly acclaimed and well known through its RCA release. That, however, features only the Barber items (which include four additional songs). The remainder of the program is every bit as worthy, and consists entirely of a wonderful selection of French songs by Poulenc (Quatre Poèmes de Paul Eluard and C'est ainsi due tu es), Fauré (Au bord de l'eau), and perhaps most interesting of all, Henri Sauget's La Voyante (The Fortune-Teller), a delightful cycle of five songs that deserves to be far more frequently performed. Leontyne Price, who was 26 and at the very start of her illustrious career, sings so beautifully that it's almost shocking. Her rich tone perfectly suits Poulenc, a composer whose music she sang with pleasure throughout her career. Barber's accompaniments are every bit as accomplished, and Bridge's sonics may be slightly warmer than the very good RCA partial release.

Adding greatly to this release's appeal is a fascinating recital broadcast from the Curtis Institute on December 26, 1938, featuring the young Samuel Barber accompanying himself in a program of six folksongs and six lieder by Schumann (In der Fremde), Mendelssohn (Ist es wahr?), C.P.E. Bach (Nonnelied), Brahms (Der Gang zum Liebchen and Der Tod, das ist die kühle Nacht), and Schubert (Der Jüngling an der Quelle). The folksongs come from England, Austria, the U.S., and Italy, making this recital a real international celebration. Barber had a lovely baritone voice, as listeners familiar with his recording of his own Dover Beach will attest, and it's quite remarkable to hear him sing and play simultaneously, shading the accompaniments to follow his phrasing and communicating with such open intimacy. The sound is obviously more limited than in the 1953 program with Price, but Bridge has cleaned it up very well: it's perfectly clear, and they have wisely left in a bit of noise rather than diminish the high frequencies.

So many historical releases earn that appellation only by virtue of the fact that they are old. In contrast, this one gives us two important musical documents that belong in the collection of anyone who cares about art songs--and great performances of them. A real gem. [11/13/2004]

--David Hurwitz