The sea is calm tonight

What do William Orbit, Ferry Corsten, Escala, Leonard Bernstein and the Emerson String Quartet have in common?

This isn't about a bizarrely conceived talent show or a fantasy musical program. No - all have recorded Samuel Barber's 'Adagio For Strings', in one way or another. Orbit made an especially effective arrangement for synthesizers as part of his 'Pieces In A Modern Style' album in 2000, while Ferry Corsten took the baton and ran with it to create a trance monster, pulverising dancefloors later that same year. Escala - well, the less said about their post 'Britain’s Got Talent' mutilation the better. Bernstein, of course, wrought maximum feeling from the piece in its beefed-up, emotionally wrenching arrangement for full string orchestra. That's the arrangement that appears in the film 'Platoon', where it was really made famous, unfolding in a seemingly endless phrase as the soldiers lost their lives.

Of these performers, only the Emersons have played the piece in its totally original form, as the second movement of the composer's String Quartet. I got to see the whole piece as part of a Barber centenary concert at the Wigmore Hall on Monday, and it reminded me that Barber should be much more than a one hit wonder.

For me, his overall style is different to that of the 'Adagio'. Exploring beyond that brings you naturally to the Violin Concerto, a highly attractive, Spring-like piece with a warm heart. For a more steely edge, one of the composer's 'Essays' for orchestra - preferably the second - works extremely well.

The Wigmore concert revealed several aspects to the Barber's writing. His 'European' side is more serious, with longer structures that can be fiercely expressive, romantic even. The Cello Sonata and Piano Sonata fell into these categories, the latter exploring jazz syncopations. For a more carefree, American approach, the piano duet 'Souvenirs' did the job perfectly, telling a tale of time spent in a New York hotel listening to the house band. All sorts of dance forms played off each other, wrapped up in spicy harmonies and catchy melodies.

The hidden treasures in Barber's output are the songs. The title of this post is actually the first line from 'Dover Beach', a tragic but romantic setting of Matthew Arnold for baritone and string quartet. Early Barber songs charm with their simplicity, while the later works are sometimes elusive but ultimately more rewarding. Into this category fall the 'Hermit Songs', recorded by the soprano Barbara Bonney and pianist André Previn just over ten years back.

So while Messrs Orbit and Corsten might not find any more source material for further ambience or trance, the curious will have plenty to reward their endeavours.