THE VIRGINIAN-PILOT
Copyright (c) 1996, Landmark Communications, Inc.
DATE: Thursday, May 23, 1996 TAG: 9605220059
SECTION: DAILY BREAK PAGE: E3 EDITION: FINAL
TYPE: Music Review
SOURCE: BY PAUL SAYEGH, SPECIAL TO THE DAILY BREAK
LENGTH: 80 lines
JOHN BROWNING has a familiarity with Samuel Barber's Piano Concerto that goes beyond intimate: The great American composer wrote the piece for Browning 34 years ago.
The two met in 1956 - Browning was rehearsing for his debut with the New York Philharmonic and Barber was having one of his works premiered - and developed a warm friendship. When Barber (1910-81) was asked to write a piece for the opening of New York's Lincoln Center, he insisted on Browning for his soloist.
``It really was a collaboration,'' said Browning, who will perform the concerto this weekend with the Virginia Symphony. ``He would write a few pages, then give them to me to play and to learn.
``Barber was a little bit of a pianist, which probably made him dangerous. I knew I couldn't play some passages at full tempo, but he insisted.''
Finally, Barber suggested they ask Vladimir Horowitz for a second opinion. Browning, doing a wonderful imitation of the Russian pianist, said Horowitz told Barber his soloist was right. He'd better rewrite the music.
Another change came from conductor Erich Leinsdorf, who suggested the quiet, first-movement ending needed revision. This time, Browning launched into a Viennese accent. Barber's response was of the I'll-do-whatever-I-please variety, but he came back at the next rehearsal with a new ending.
With the premiere approaching, the work was still unfinished, said Browning. Enter Aaron Copland, who went to Barber's house and admonished him for leaving his soloist in the lurch. The concerto was finally finished about two weeks before the first performance.
The piece, which won the Pulitzer Prize, was successful from the start. Because of Barber's reputation, some 20 performances were scheduled even before the music was heard. Browning estimates that he's performed the work more than 600 times.
``I've never known it to bomb with an audience,'' he said. ``Barber got everything right with this piece.''
Unfortunately, RCA, Browning's label at the time, didn't get it. Despite having Browning, Leinsdorf and the Boston Symphony under contract, RCA declined to record it. Browning was released from his contract and taped the concerto for CBS with George Szell and the Cleveland Orchestra.
In 1991, his second recording of the concerto won a Grammy. Ironically, it was made for RCA.
Browning, 63, laughs at the idea that his close association with the work will scare off other pianists. ``One of these days I won't be around to play it anymore, and I certainly think it's worth keeping alive,'' he said.
At this point in his career, Browning appears to have found a tempo very much to his liking. After a midcareer slump during which he played too much - ``I once did nine different concertos in 13 days,'' he said - he limits himself to about 80 orchestral dates and solo recitals a season. He maintains a strict practice schedule, and he is recording again.
And he enjoys playing in smaller cities. ``Some of my colleagues have priced themselves out of all but the largest cities, and I won't do that,'' he said.
Virginia Symphony Music Director JoAnn Falletta, a longtime admirer of Browning, is thrilled at the prospect of working with the celebrated pianist.
``It's so exciting that he's coming here to help us end our season,'' she said. ``He's a legend among American pianists. And to have him doing a work written for him is even more exciting.''
Browning is the sole survivor of an amazing generation of American pianists that rose to prominence in the 1950s. Van Cliburn, Leon Fleisher and Byron Janis were brilliant musicians, too, but succumbed to hand injuries, medical problems or the pressures of their mega-careers.
``I feel I've been very lucky to have not had any injuries,'' Browning said.
This weekend, audiences at Chrysler Hall will be the beneficiaries of his good fortune, as well as his dazzling technique and artistry. ILLUSTRATION: Graphic
[Box]
CONCERT FACTS
What: The Virginia Symphony, JoAnn Falletta conducting; featuring
pianist John Browning
When: 8 p.m. Friday and Saturday
Where: Chrysler Hall, Norfolk
Tickets: $9 to $40 (students $5); order at 671-8100
Information: 623-2310 by CNB