JenniferKoh_Signs_MECH_OL_r1.indd 1 8/19/2013 2:43:06 PM Producer & Engineer Judith Sherman Editing Bill Maylone Recorded American Academy of Arts and Letters, New York City, April 27–28 and v LEOŠ JANÁCEK (1854–1928) October 14–17, 2012 Sonata for Violin and JW VII/7 (17:29) Front Cover Design Sue Cottrill 1 I. Con moto (4:48) 3 III. Allegretto (2:38) Inside Booklet & Inlay Card Nancy Bieschke 2 II. Ballada: Con moto (5:13) 4 IV. Adagio (4:39) Cover Photography Jürgen Frank GYÖRGY KURTÁG (b. 1926) 5 Doina (from Játékok, Vol. VI)* (2:28) 6 The Carenza Jig (from Signs, Games and Messages)† (0:45) Tre Pezzi for Violin and Piano, Op. 14e (5:31) 7 I. Öd und traurig (2:14) Cedille Records is a trademark of Cedille Chicago, NFP (fka The Chicago Classical Recording 8 II. Vivo (1:06) Foundation), a not-for-profit organization devoted to promoting the finest musicians and ensembles 9 III. Aus der Ferne: sehr leise, äusserst langsam (2:05) in the Chicago area. Cedille Chicago’s activities are supported in part by contributions and grants ** from individuals, foundations, corporations, and government agencies including the Irving Harris bk Fundamentals No. 2 (from Játékok, Vol. VI) (0:30) † Foundation, Mesirow Financial, NIB Foundation, Negaunee Foundation, Sage Foundation, and the bl In memoriam Blum Tamás (from Signs, Games and Messages) (3:08) * Illinois Arts Council, a state agency. bm Like the flowers of the field...(from Játékok, Vol. V) (1:52) bn Postcard to Anna Keller (from Signs, Games and Messages)† (0:30) ** bo A Hungarian Lesson for Foreigners (from Játékok, Vol. VI) (0:19) CONTRIBUTIONS TO CEDILLE CHICAGO, NFP MAY BE * bp Fanfare to Judit Maros’ wedding (from Játékok, Vol. V) (0:46) MADE AT CEDILLERECORDS.ORG OR 773-989-2515. bq Les Adieux (in Janáceksv Manier) (from Játékok, Vol. VI)* (2:05) br In Nomine—all’ongherese (from Signs, Games and Messages)† (4:51) BÉLA BARTÓK (1881–1945) CEDILLE RECORDS® trademark of First Sonata for Violin and Piano, Sz. 75 (35:14) Cedille Chicago, NFP † 1205 W Balmoral Ave., Chicago IL 60640, USA bs I. Allegro Appassionato (12:40) solo violin 773.989.2515 tel • 773.989.2517 fax bt II. Adagio (12:11) *solo piano CEDILLERECORDS.ORG ck III. Allegro (10:17) ** CDR 90000 143 P & C 2013 Cedille Records piano and voice All Rights Reserved. Made in U.S.A TT: (76:15)

2 3 v Artists’ Statement signs, games + messages: Another inspiration for Janácek was janácek,v kurtág, and bartók his ardent belief in the pan-Slavic idea: the cultural linkage of all nations Each work on this album inhabits two worlds: the influence of Notes by Andrea Lamoreaux folklore on one hand and the composer’s striking originality on and peoples with a Slavic heritage While we know a lot about Béla the other. As a duo, we wanted to create a program that explores (he was especially interested in the Bartók and Zoltán Kodály’s research culture of Russia). His patriotic heart these intertwined strands of musical DNA, the tension between the into Hungarian and Romanian folk rejoiced when an independent visionary modernism of these masterpieces, and the visceral pull of music during the first decade of the Czechoslovakia (now two nations, folk and cultural memory that is so essential to the language of these 20th century, and Ralph Vaughan Slovakia and the Czech Republic) composers. Williams’s parallel work in English folk emerged after the First World War, music around the same time, music free (temporarily, as it turned out) The folk components in these works are as fundamental as harmony lovers tend to be less aware of the from the Austro-German domination v and rhythm, and their use goes far deeper than the merely exotic. research Leoš Janácek undertook in that had lasted for centuries. His Violin They transcend the formal use of specific rhythmic patterns or the realm of Slavic folk music some Sonata, composed and re-composed passing quotations of folk tunes. Their force can be felt behind twenty years earlier. These were his between 1914 and 1921, is seen by even the most abstract passages. The quasi-improvisatory freedom years of obscurity as an ambitious, his biographer, Mirka Zemanova, as a of Bartók’s violin soliloquies; Janácek’sv condensed, speech-like dedicated, but virtually unknown kind of reaction to that conflict. composer earning his living as a music motifs; and the various allusions of Kurtag’s enigmatic aphorisms all The sonata’s occasional Russian flavor teacher and organist in the Moravian v transform what may have begun as folk influence into part of the city of Brno. Native folksongs became has been linked to Janácek’s 1920 composer’s distinctive inner world. We hope that you find these the basis of his ideas about speech- opera Kát’a Kabanová, based on a works as profound and powerful as we do! melody; he heard parallels between Russian story, with which it shares some thematic ideas. It was another traditional tunes and the rhythms and o opera, Jenufa, that first gained cadences of language. Critic Bernard v —Jennifer Koh and Shai Wosner Jacobson has noted “the curiously Janácek national and international recognition after it was premiered in abrupt rhythmic style of much of his v instrumental music,” linking it to the Prague in 1916. In the 1920s, Janácek unpredictable and varied sounds of enjoyed one operatic triumph after speech. another and also composed his choral

4 5 masterwork, the Glagolitic Mass (1927). center in the sense we’d encounter from that of the Sonata’s opening — string (G), interjects intense, jabbing His Violin Sonata was first performed in the D-flat works of, say, Chopin or sometimes almost dreamy. Once again little triplet figures. Mournful melodic in Prague in 1922. Tchaikovsky. Key centers and modes the key center is constantly shifting as passages and mysterious interjections

v — major or minor — shift constantly as melodic ideas are stated and repeated continue to be juxtaposed and Zemanova notes that many Janácek v Janácek adds in chromatic tones and in a rondo-like fashion. Toward the exchanged between the instruments instrumental works originated well o sharp dissonances. The highly dramatic end, the violin takes one of these as the movement builds to a climax. before the Jenufa success. “Their opening movement marked melodies and soars very high with it in The conclusion returns to the sound of complicated history,” she writes, Con moto (moving) opens with a mournful, an improvisatory style over the piano’s the movement’s opening as the piece testifies to Janácek’sv stubborn improvisatory violin statement soon agitation; this subsides into a slower ends adagio and pianissimo. quest to perfect other genres at joined by powerful, fast-moving piano conclusion marked , extremely soft. ppp The proliferation of musical styles a time when productions of his figurations. The broad melody of the So far the basic meter has been triple, and approaches in the 20th and 21st operas were hindered through movement’s main theme is contrasted 3/4 or 3/8 time. The Allegretto scherzo, centuries has made it much harder the lack of understanding as well with a striking motive that occurs and in 2/4, starts out with a pounding folk- than in the past to pigeonhole today’s as ill luck. But by the time the recurs in both instruments: an agitated like theme in the piano part. Triple composers. György Kurtág’s creativity, composer more or less reluctantly figure of three falling 32nd notes. meter returns in the broader-paced, for example, would never fit into any sanctioned the publication of these Themes, fragments of themes, and tiny somewhat declamatory middle- kind of box. Whether it’s one of the works, his success on European motives are constantly juxtaposed and section succeeded by a return of the miniatures heard on this recording, or operatic stages was assured, and constantly shifting through continual opening folk theme and an abrupt a large-scale work like Stele, written his insecurities long forgotten. The tempo and dynamic changes. ending. for Claudio Abbado and the Berlin dramatic intensity of the Sonata for The earliest music in the sonata is its Philharmonic, or the Concertante for Violin and Piano, in particular, was Sonata finales tend to be lively and second movement, subtitled Ballada, v violin, viola, and (which won soon to win it audiences in many upbeat. Janácek’s begins adagio, which may have originated as early as the Grawemeyer Award in 2006), Kurtág countries… [it is] a work of great although that pace and the time 1908. A lyrical E major theme for violin creates a sound-world all his own. Born power which rightly holds a special signature keep changing. The piano is supported by a piano part based on in Hungary in 1926, Kurtág (like Bartók) place in the violin repertoire. states the main theme in octaves, a fast-moving 32nd notes and further studied and later taught at Budapest’s sad melody that proceeds in half- The most common key signature in characterized by complex chords. Franz Liszt Academy. A brief sojourn in steps, augmented fourths, and minor the sonata’s four movements is five The tempo marking, , could Paris shortly after the 1956 Hungarian con moto sixths. Over this the violin, playing with flats, which can signify D-flat major or easily have the word “espressivo” uprising led to contact with composers a mute and at first only on its lowest B-flat minor, but there’s no firm tonal added. The mood is quite different

6 7 Olivier Messiaen and Darius Milhaud or a minute, perhaps two… Kurtág’s been linked to the klezmer music of chromatic scale pattern over long, and the plays of Samuel Beckett. After apparent obsession with this Eastern European Jewish communities sustained piano notes and is marked a long teaching career, Kurtág served smallness of time-scale isn’t some and sources as far away as northern quadruple piano throughout. as composer-in-residence for the kind of post-Webernian quest to India. Perhaps it traveled along the Fundamentals No. 2 for piano and Berlin Philharmonic from 1993 to 1995. split the musical atom or to find Silk Road. wordless voice from Játékok, Vol. 6 He has lived in France since 1999. As the structural essence of music. The Carenza Jig, for solo violin, from features vocal sounds, including one a pianist in concert and on recordings, Far from a “reduction,” Kurtág’s Signs, Games and Messages: intervals labeled “unpleasant,” over a few soft, he has performed in partnership fragments are about musical and, of a major fifth, played consecutively isolated piano tones. with his pianist wife, Marta, building above all, expressive intensification: or as double-stops, pizzicato and arco, programs around selections from his maximizing the effect and impact In Memoriam Blum Tamás for solo violin often following the tones of the violin’s eight volumes of , or Games, of every note, every gesture… Ever from Signs, Games and Messages is Játékok open strings (G, D, A, and E). A jig is originally for piano solo and piano since the piece he thinks of as his characterized by intricate intervals, a lively dance known in many cultures. duet. The sequence of began Opus One, a string quartet written sometimes major triads or major fifths, Játékok Marked “Brisk and Wild,” this one is in 1973; the sequence of in 1959... Kurtág has composed sometimes sevenths or augmented Signs, Games notated on a single page and lasts less originated in 1961 and a huge catalogue that resonates fourths. When the violinist plays the and Messages than 50 seconds. likewise became an ongoing project. with the music of the past he loves same note on two strings at once, the The Tre Pezzi (Three Pieces) for violin most — Bach, Schubert, Schumann, Tre Pezzi for violin and piano, Op 14e: score says these unisons “should be and piano date from 1979. Beethoven, Bartók, Webern. It also In the first of these three short pieces, markedly discordant, the lower string speaks with a fearless directness we once again hear violin open-string played nearly a quarter-tone lower.” Britain’s Tom Service, who writes that bypasses musical tradition and fifths. This time, the violin part is in C The tempo marking is “calm and for The Guardian and hosts music becomes its own idiom. major over a widely spaced piano part serene,” the mood markedly mournful. broadcasts on BBC Radio 3, wrote notated in five sharps — B major: an on one of his blogs that the Doina for solo piano from Játékok, Like the flowers of the field... for solo Játékok automatic clash. The second piece, symbolize Vol. 6 is marked parlando (similar to piano from Játékok, Vol. 5 contains the Vivo, starts very softly, with ethereal speech) con moto (with motion). This tempo marking legatissimo possibile, a compositional journey that has high violin notes over leaping piano ruminative gem is all about the clash telling the pianist to play as smoothly often involved reducing music figures. It grows to fortissimo in the of minor seconds, frequently B-natural and sustained as possible. In it, a to the level of the fragment, the middle, subsiding to quadruple piano against B-flat. The doina is an melody characterized by its use of moment, with individual pieces or at the end. The slow third piece is improvised folk tune Bartók discovered intervallic seconds sounds alternatively movements lasting mere seconds, the shortest. Subtitled Aus der Ferne in what is now Romania, but it has also loudly and very, very softly. (From Afar), it gives the violin a semi-

8 9 Marked vivace, Postcard to Anna intervallic blend of consonant major dance suites, and the beloved music stems from an intimate com- Keller for solo violin from Signs, sixths and clashing minor sevenths, to for Orchestra, Bartók was prehension of his sources’ rhythms and Games and Messages is over almost be played mostly in a soft dynamic with an influential teacher and celebrated melodies that he internalized and before it begins. This bright and indications such as dolce (sweet) and pianist as well as one of the 20th blended with his own artistic voice. It can cheerful message is written almost quasi in sogno (like a dream), makes a century’s preeminent composers. This be heard in the sonata, if not overtly entirely in double-stops, with two poignant and enigmatic evocation. recording reminds us of his important defined. It’s part of the music’s soul. brashly dissonant chords delivering its relationships with several major In Nomine—all’ongherese for solo Whole-tone and pentatonic scales are concluding signature. violinists, including Yehudi Menuhin violin from Signs, Games and found in folk music as well as in the and Joseph Szigeti. Another, not so Musical humor in six measures: A Messages: The quietly passionate works of Debussy. They can be heard well remembered, was Stefi Geyer, Hungarian Lesson for Foreigners for combination of rapid runs and tranquil frequently in Bartók’s First Sonata, the romantic inspiration for his long- piano and voice from Játékok, Vol. sostenuto playing, to be played with which is an ambitiously conceived suppressed First . 6 contains a total of 10 strikes on the great rhythmic freedom, creates a expansion of tonality as we know it. Yet another was his countrywoman piano keyboard. violinistic tour de force in miniature. Bartok identified the basic tonality of Jelly D’Aranyi, the descendant of a Diatonic and chromatic measures, his work as C-sharp minor, and indeed, Fanfare to Judit Maros’ wedding for prominent Hungarian musical family consonance and dissonance, succeed as is traditional for a classical sonata, solo piano from Játékok, Vol. 5 is very whose great uncle was violinist and each other almost without warning. the first and last movements are festive to suit the occasion. With a composer Joseph Joachim, a close The term “In Nomine” derives from a centered around this key (the middle dynamic ranging from one f (loud) to friend of Brahms. For D’Aranyi, Bartók medieval liturgical chant whose theme movement is in F-sharp minor, which, four fs by the end, and a tempo marked composed two violin sonatas in the was later adopted for instrumental according to sonata tradition, is a vivacissimo, the piece consists of an early 1920s, the first of which they music. The title suggests a Hungarian plausible key for the slow movement almost impossibly fast cascade of runs premiered together in London in 1922. melody treated in the same manner. of a work in C-sharp). Structurally, and percussive chords, except for two In their personal reflection for this too, the movements follow some triple-soft measures nearly halfway in. The impact of Béla Bartók on the album, Jennifer Koh and Shai Wosner sonata ideals (sonata form in the v history of modern concert music is Les Adieux in Janáceks Manier for solo note the intricacy of folk music’s impact first movement, rondo in the last). almost impossible to overestimate. piano from Játékok, Vol. 6: The title on the three highly innovative creators However, Bartók’s harmonic language A pioneer of ethnomusicology and is a reference to Beethoven’s Piano represented on this disc. It’s not a is multi-layered and highly complex, the creator of six groundbreaking Sonata, Op. 81a. Les Adieux translates matter of direct quotation, but rather enriching his chords with carefully string quartets, three brilliant piano to “Farewell” in English. This complex the effect of inward understanding. ordered dissonances and packing each , numerous ballets and The folk music element in Bartók’s movement with many themes in a way

10 11 that lends the music an almost stream- of the first theme, elaborated and JENNIFER KOH In 2012, she launched “Two x Four” of-consciousness-like spontaneity. expanded. Violinist Jennifer Koh is recognized — a project that pairs Bach’s Double This is especially apparent in the Introduced by a dramatic piano for her intense, commanding per- Violin Concerto with newly com- opening Allegro Appassionato. Both flourish, the violin kicks off the finale formances, delivered with dazzling missioned double concerti — with instruments enter with jarringly abrupt with an energetic passage played virtuosity and technical assurance. her former teacher from the Curtis themes. Meter, tempo, and dynamics initially on the instrument’s low G With an impassioned musical curi- Institute of Music, violinist Jaime keep shifting as each instrument string, giving a hearty and earthy osity, she is forging an artistic path Laredo. She frequently performs the pursues its own virtuosic path. There quality to this dance-like Allegro. The of her own devising, choosing works complete Bach Sonatas and Partitas are pounding octaves and huge jumps tempo marking, which translates as that both inspire and challenge. She in a single concert. for the piano. The violin part features “lively,” seems an understatement for is dedicated to performing the violin Ms. Koh has been heard with equally large jumps and brilliant runs this virtuosic, perpetual motion sonic repertoire of all eras from traditional leading around the world over the instrument’s whole range. The panorama. Hugely spaced chords in to contemporary, believing that the including the New York and Los storm passes, however, into a quiet both instruments contrast with 16th past and present form a continuum. Angeles Philharmonics, Cleveland and contemplative ending. note runs ranging from low bass to The exploration of Bach’s music and Philadelphia Orchestras, and The Adagio central movement opens high treble. Fierce dissonances intrude and its influence in today’s musical the Baltimore, Chicago, Cincinnati, with a lengthy violin solo, based in throughout. The overwhelming im- landscape has played an important Detroit, Houston, New World, part on astringent intervals including pression is one of headlong ferocity, role in Ms. Koh’s artistic journey. Montreal, and National Symphonies. the augmented fourth, sometimes sometimes taking on the quality She is also passionate in her efforts Abroad she has appeared with the called the tritone, which spans three of a devil’s dance, with momentary to expand the violin repertoire and Czech Philharmonic, BBC London whole tones (such as C to F-sharp) sustained pauses permitting only a has established relationships with and Scottish Symphonies, Helsinki and is characteristic in a great deal of brief drawing of breath before the many of today’s composers, regularly Philharmonic, Lahti Symphony, Bartók’s music. The piano joins in with frenzy returns. commissioning and premiering new Mariinsky Theatre Orchestra, and widely spaced chords. This meditative works. In 2009 she debuted “Bach Orquestra Sinfonica do Estado de opening is soon succeeded by the and Beyond” a three recital series Sao Paulo in Brazil. A prolific recitalist, movement’s midsection, where a Andrea Lamoreaux is Music Director of that explores the history of the solo she frequently appears at major music drone pattern in the piano’s deep 98.7wfmt, Chicago’s classical experience. violin repertoire from Bach’s Sonatas centers and festivals. bass introduces fragmentary and and Partitas to works by modern day Highlights of her 2013–14 season increasingly agitated violin figurations. composers and new commissions. include “Bach and Beyond” recitals Great tension is resolved into a return

12 13 worldwide and “Two x Four” concerts Records. Other albums include Bach Orchestra at age 11 and went on to SHAI WOSNER with the Los Angeles Chamber & Beyond Part 1, Rhapsodic Musings: win the International Tchaikovsky Pianist Shai Wosner has attracted Orchestra. She makes her Munich 21st Century Works for Solo Violin; Competition in Moscow, the international recognition for his Philharmonic debut performing the Grammy-nominated String Concert Artists Guild Competition, exceptional artistry, musical integrity Tchaikovsky’s Violin Concerto Poetic, featuring the world premiere and an Avery Fisher Career Grant. and creative insight. His per- conducted by Lorin Maazel, and of ’s eponymous Ms. Koh has a Bachelor of Arts formances of a broad range of performs Barber’s Violin Concerto work, performed with pianist Reiko degree in English literature from repertoire from Beethoven and with the National Symphony Uchida; Schumann’s complete violin Oberlin College and studied at the Mozart to Schoenberg and Ligeti, as Orchestra, Berg’s Violin Concerto sonatas (also with Uchida); Portraits Curtis Institute, where she worked well as music by his contemporaries, with the Milwaukee Symphony with the Grant Park Orchestra under extensively with Jaime Laredo and communicates his imaginative pro- Orchestra, Prokofiev’s Second Violin Carlos Kalmar, featuring concertos by Felix Galimir. o gramming and intellectual curiosity. Concerto with the Los Angeles Szymanowski, Martinu, and Bartók; For more information: jenniferkoh.com Mr. Wosner’s virtuosity and per- Philharmonic at the Hollywood Bowl, Violin Fantasies: fantasies for violin ceptiveness have made him a and Tchaikovsky’s Concerto with the and piano by Schubert, Schumann, favorite among audiences and critics, NHK Symphony Orchestra in Tokyo. Schoenberg, and saxophonist who have praised him for his “keen She will perform the role of Einstein (with Uchida); and musical mind and deep musical soul” in Philip Glass’s her first Cedille album, from 2002, Einstein on the (NPR’s All Things Considered). Beach in Los Angeles. Her New York Solo Chaconnes, an earlier reading concerts include the U.S. premiere of of Bach’s Second Partita coupled with Mr. Wosner has appeared with Kaija Saariaho’s Frises for violin and chaconnes by Richard Barth and Max numerous major orchestras in electronics and Bach’s Partita No. 2 Reger. North America including the Los at Miller Theatre and the New York Angeles Philharmonic, Orpheus Born in Chicago of Korean parents, Chamber Orchestra, National Arts premiere of Jennifer Higdon’s The Ms. Koh began playing the violin Singing Rooms, a concerto for violin Centre Orchestra, St. Paul Chamber by chance, choosing the instrument Orchestra, Wisconsin Chamber Orch- and chorus, with the New York Choral in a Suzuki method program only Society at Carnegie Hall. estra, and the symphony orchestras because spaces for cello and piano of Atlanta, Baltimore, Berkeley, Signs, Games + Messages is Ms. had been filled. She made her Chicago, Cleveland, Dallas, Indian- Koh’s eighth recording for Cedille debut with the Chicago Symphony apolis, Milwaukee, Philadelphia,

14 15 Pittsburgh and San Francisco. In German premiere of Michael Hersch’s regularly at various chamber music Scottish Symphony Orchestra. He Europe, he has appeared with the concerto “Along the Ravines” (a work festivals, including Chamber Music also returned to the BBC Scottish Bournemouth Symphony, Staats- he commissioned and premiered with Northwest in Portland, the Jerusalem Symphony in both subscription kapelle Berlin, LSO St. Luke’s, the Seattle Symphony in 2012) with Chamber Music Festival, the Oregon concerts and performances at the Gothenburg Symphony, Barcelona the Deutsche Radio Philharmonie– Bach Festival, the Piano Aux Jacobins Proms with Donald Runnicles, and Symphony, Frankfurt Radio Sym- Saarbrücken. Widely praised for his festival in France, and the Santa appeared with the BBC Philharmonic phony, Orchestre National de interpretations of Franz Schubert’s Fe Chamber Music Festival. He in a live broadcast from Manchester’s Belgique and Nieuw Sinfonietta solo works, both in concert and on has performed at summer festivals Bridgewater Hall. Amsterdam, and at Cardiff’s recording, Mr. Wosner will present including the Ravinia Festival, Born in Israel, Mr. Wosner enjoyed Hoddinott Hall, among others. He Schubert works in recital throughout Hollywood Bowl, Lincoln Center’s a broad musical education from made his debut with the Vienna the season, with performances at Mostly Mozart, Bridgehampton a very early age, studying piano Philharmonic Orchestra in Salzburg, Cal Performances in Berkeley, in Chamber Music Festival, Grand with Emanuel Krasovsky as well during the 250th anniversary Fresno, CA, and Schenectady, NY; at Teton Music Festival, and Bravo! as composition, theory, and celebrations of Mozart’s birth. He Wigmore Hall in London; and at the Vail Valley Music Festival. For several improvisation with André Hajdu. He has worked with such conductors as Festival de Musica de Camara in San consecutive summers, Wosner was v v later studied at The Juilliard School Daniel Barenboim, Jirí Bolohlávek, Miguel de Allende, Mexico. involved in the West-Eastern Divan with Emanuel Ax. Mr. Wosner resides James Conlon, Alan Gilbert, Gunther His previous recordings include Workshop led by Daniel Barenboim in New York City with his wife and two Herbig, James Judd, Zubin Mehta, an album of solo piano works by and toured as soloist with the West- children. Peter Oundjian, Donald Runnicles, Schubert that incorporate elements Eastern Divan Orchestra. and Leonard Slatkin. For more information: shaiwosner.com of folk music and a album that Mr. Wosner is a recipient of an Mr. Wosner’s 2013–14 orchestral juxtaposes works by Brahms and Avery Fisher Career Grant and a engagements include Mozart piano Schoenberg, both released on the Borletti-Buitoni Trust Award. He concertos with the Hamburger Onyx label. was in residence with the BBC as Symphoniker, the BBC Scottish Sym- Mr. Wosner is widely sought after a New Generation Artist, during phony, and the Discovery Ensemble by colleagues for his versatility and which he played frequently with BBC at Boston’s Jordan Hall. He plays spirit of partnership. He is a former orchestras, including appearances Tchaikovsky’s First member of Lincoln Center’s Chamber conducting Mozart concertos with the Pasadena Symphony and the Music Society Two and performs from the keyboard with the BBC

16 17 ALSO WITH JENNIFER KOH ON CEDILLE RECORDS SCHUMANN: THE SONATAS FOR VIOLIN & PIANO BACH & BEYOND, PART 1 with Reiko Uchida, piano WORKS BY BACH, YSAŸE, SAARIAHO & MAZZOLI “Koh displays an astonishingly wide variety of attacks and “Koh is a thoughtful, sensitive, and technically accomplished exquisite technical control. Uchida gracefully grabs the thematic violinist and her project is most interesting. She plays material when it comes her way. . . You end up wishing Schumann had composed more violin sonatas.” each of the pieces on this disc with knowledge of its — Time Out Chicago style as well as the ability to coordinate and explain this unusual program.” — Fanfare PORTRAITS New York Times Best Classical Music Recordings of 2012 Selection Grant Park Orchestra / Carlos Kalmar o WORKS BY SZYMANOWSKI, MARTINU & BARTÓK “Cedille really does set an industry standard for finding RHAPSODIC MUSINGS FOR SOLO VIOLIN intelligent and desirable ways to showcase its artists, and WORKS BY SALONEN, CARTER, THOMAS & ZORN this release is a case in point. ... the complete program is as “Koh is undoubtedly a master at her instrument as well coherent and well thought-out as the performances are out- as a deeply thoughtful and emotionally sensitive art- standing.” —ClassicsToday.com ist. She glides through these works, for which the term ‘virtuosic’ seems pale, with authority, grace, power, and VIOLIN FANTASIES imagination There is so much to be praised here it seems with Reiko Uchida, piano necessary to make a list so as not to overlook anything.” WORKS BY SCHUBERT, SCHUMANN, SCHOENBERG & COLEMAN — Classical Voice of New England “This is a pretty terrific recording on all counts, and the Schubert and Schumann performances make it essential listening for fans of those composers.” — ClassicsToday.com STRING POETIC with Reiko Uchida, piano WORKS BY HIGDON, HARRISON, ADAMS & RUGGLES SOLO CHACONNES WORKS BY BACH, BARTH & REGER “Jennifer Higdon’s ‘String Poetic,’ written for violinist “[Koh] is a boldy expressive musician who is alert to harmonic Jennifer Koh, makes imaginative use of both violin and implications and details . . . she is a violinist who obviously piano strings. On a new disc of the same name, Ms. enjoys setting challenges for herself and then meeting them Koh and the pianist Reiko Uchida, superb frequent to splendid effect.” collaborators, vividly explore the varied moods of that — Gramophone work and others by American composers.” — The New York Times Recordings available at cedillerecords.org 18 19