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Rachel Barton Pine VIOLIN LULLABIES with Matthew Hagle,

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Awarded Parent Tested Parent Approved’s & Schumann coveted Seal of Approval Violin Beethoven Romances “What a beautiful recording this is! . . . Pine and Hagle play each [piece] idiomatically with great attention to detail and the ultimate in musical values.” Göttinger Symphonie —Fanfare Orchester

“This is a winning idea that works because of well-conceived musical Christoph-Mathias motivation supported by first-rate production values. Strongly recom- Mueller mended —without age limit.” —ClassicsToday.com

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15584063_RachelBarton_MECH-NB.indd 1 8/2/2013 12:02:05 PM Producer Steven Epstein Göttinger Symphonie Engineer Bill Maylone Orchester Recorded Stadthalle Göttingen, August 28–30, 2012 Violin “ex-Soldat” Guarneri del Gesu, Cremona, 1742 Christoph-Mathias Strings Vision Titanium Solo by Thomastik-Infeld Mueller Bow Dominique Peccatte Front Cover Design Sue Cottrill Inside Booklet & Inlay Card Nancy Bieschke Cover Photography ©2013 Lisa-Marie Mazzucco (1809–1847) Violin in , Op. 64 (25:48) 1 I. Allegro molto appassionato (12:28) Cedille Records is a trademark of Cedille , NFP (fka The Chicago Classical Recording Foundation), a not-for-profit organization devoted to promoting the finest musicians and ensembles 2 II. Andante (7:05) in the Chicago area. Cedille Chicago’s activities are supported in part by contributions and grants 3 III. Allegretto non troppo — Allegro molto vivace (6:14) from individuals, foundations, corporations, and government agencies including the Irving Harris Foundation, Mesirow Financial, NIB Foundation, Negaunee Foundation, Sage Foundation, and the (1770–1827) Illinois Arts Council, a state agency. This project is partially supported by a CityArts grant from the City of Chicago Department of Cultural Affairs and Special Events. 4 Romance for Violin and No. 1 in G major, Op. 40 (6:56) CONTRIBUTIONS TO CEDILLE CHICAGO, NFP MAY BE MADE AT CEDILLERECORDS.ORG OR 773-989-2515. (1810–1856) in , WoO 23 (29:36) 5 I. In kräftigem, nicht zu schnellem (14:17) CEDILLE RECORDS® trademark of 6 II. Langsam (6:16) Cedille Chicago, NFP 1205 W Balmoral Ave., Chicago IL 60640, USA 7 III. Lebhaft, doch nicht schnell (8:59) 773.989.2515 tel • 773.989.2517 fax CEDILLERECORDS.ORG CDR 90000 144 P & C 2013 Cedille Records BEETHOVEN All Rights Reserved. Made in U.S.A 8 Romance No. 2 in , Op. 50 (8:33)

TT: (71:20) 2 3 Personal Note Joachim Do? Based on my intense study of Joachim’s suggested revisions to the Brahms Violin Concerto, by Joachim’s own concerto writing, and by I have had the pleasure of performing many works from the vast violin my personal experiences collaborating with , I tried to find the concerto repertoire, but for the majority of my career, I had not been drawn solutions that Joachim might have suggested to Schumann had he had the to play Schumann’s Violin Concerto. My opinion changed in 2009, when opportunity. Christoph-Mathias Mueller invited me to perform it with him and the Göttinger Symphonie Orchester the following year. In contrast to the Schumann, the Mendelssohn Violin Concerto has been a lifelong friend. I still remember the cassette tapes I listened to over and I have a tremendous respect for Maestro Mueller and generally share his over with my Mom as she drove me to my earliest violin lessons, and the musical tastes. I also knew that many people regard the Schumann Concerto LP recordings we played at home. As is typical for young violinists, the highly, so I agreed to learn it. Mendelssohn was one of the first major Romantic violin concertos I learned. I Studying the piece closely and collaborating with Maestro Mueller was first began studying it around the age of eight and revisited it when I entered a revelation. Maestro Mueller’s detailed and imaginative shaping of the the studio of my main teachers, Almita and Roland Vamos. My first public orchestral accompaniment brought the music to life and transcended any performances with orchestra occurred when I was 10 and the Mendelssohn is flaws or weaknesses in the scoring. Against this backdrop, I was inspired to find among the works that I perform most frequently. new beauty in the solo violin part. The musical experience was so profound In one of my earliest performances, I played the third movement as part of that I left the stage determined to record it with Maestro Mueller. a Wild West-themed family concert. The memory of that performance — The work is not without its challenges — perhaps the most significant of which standing on stage in cowboy boots, blue jean skirt, checkered shirt, braided is the tempo of the last movement. The technical demands of the solo part hair, and a big belt buckle— is so indelible that to this day I always think “yee necessitate a slower tempo that results in a stodgy feeling. Increasing the haw!” when the herald the beginning of the third movement. tempo to fit the music renders certain passages unplayable. The Mendelssohn does not demand the endurance, emotional intensity, or I don’t fault Schumann. His mental state at the end of his life prevented the technical virtuosity of the Brahms, Sibelius, or Tchaikovsky. However, I have normal collaborative process with his dedicatee, . Joachim found that the older I get, the more difficult this “easier” concerto becomes. undoubtedly would have suggested revisions to make the music more In perhaps the most frustrating violin lesson I ever had, Almita Vamos spent violinistic. His respect for Schumann seems to have prevented him from the entire hour working with me on just the first measure of the Mendelssohn. making any modifications in the absence of the ’s approval. At the time, I thought it was only about shaping the opening phrase. I now I addressed these challenges by making a number of minor changes to various realize that she was teaching me so much more about the piece and my future notes and bowings, always guided by the principle of WWJD — What Would journey with it.

4 5 The Mendelssohn is neither a purely Classical-style concerto nor a full-fledged Finally, special thanks goes to the many generous supporters of Cedille Romantic work. The perfect balance between warmth and tasteful purity Records’ crowdfunding campaign on Kickstarter, particularly: is ever elusive. With each performance, I strive to come ever closer to the Conroy Family unachievable ideal in my mind. I have become increasingly convinced that Philip and Wolfie the Mendelssohn benefits from tempi that are flowing rather than expansive, paired with judicious rubato and a lightness of touch. This is reflected in my as well as to donors who supported this CD with a direct gift to Cedille performance on this recording. Records, including: The Beethoven Romances were not originally planned for this album. I’m Drs. Mead Killion and Gail Gudmundsen very grateful to producer Steve Epstein for suggesting them when we found Etymotic Research, Inc. ourselves ahead of schedule during the sessions. Thanks to the miracle of Alexandra C. and John D. Nichols modern technology, my parts were sent from Chicago in a matter of minutes. Irving Harris Foundation The spare and chamber-like integration with the solo part of In memory of Aleece Fulton these beautiful pieces made it a special pleasure to collaborate with Maestro Thanks for your belief in me and this recording project! Mueller on interpretive details. This project was one of the most musically rewarding I’ve had the privilege Given the programming of my Brahms/Joachim and Beethoven/Clement to realize. I hope you discover something fresh, new, and wonderful in this concerto albums, many of you might have expected me to pair the extraordinary music. Mendelssohn with a concerto by Mendelssohn’s dedicatee, Ferdinand David. After careful study of David’s concerti, I didn’t feel that they were as intimately connected to Mendelssohn’s masterpiece as was the case in my previous Rachel Barton Pine, 2013 pairings. I felt that including a David concerto would have come across more as a novelty than a revelation. I would like to extend special thanks to Ruth Ann Little for graciously providing me with her thesis, “Romance in G Major by Ludwig van Beethoven: A Study (1977).” I would also like to acknowledge the author of another major source for my program notes to this CD: “Robert Schumann’s Violin concerto, WoO 23: a reappraisal of the work and its suppression (2000)” by Louis Stephen Hajosy, III.

6 7 Mendelssohn and Schumann friend, the great violinist, conductor, Schumann attempted suicide, sub- a library in with instructions that Violin Concertos, Beethoven composer, and pedagogue, Joseph sequently entering a sanatorium in it should not be published or played Romances Joachim. Structurally, the work is which he died two years later. He until 100 years after the composer’s conservatively classical. Grandly never finished discussing revisions death. His suppression was successful Notes by Rachel Barton Pine symphonic in conception, the first with Joachim. for more than 75 years. Madness and death, rejection movement is in -allegro form Though never performed, the piece In 1933, Joachim’s grand-niece, and suppression, resurrection and with a double exposition featuring was periodically revisited after concert violinist Jelly d’Arányi, redemption, Hitler, séances — a powerful opening theme. The Schumann’s death. His wife, Clara, claimed to have been contacted the Schumann Violin Concerto is development transforms - continued to play the concerto in séances by Schumann and her surrounded by drama and intrigue. key version of the warmly romantic occasionally with Joachim in its piano great-uncle, both urging her to play Against this backdrop, the work’s second theme into quiet stillness, reduction version. Joachim also the concerto. She further claimed merit continues to be debated. Is with fragments from the solo violin rehearsed it in 1857 with the orchestra to have had no knowledge of its it an inferior piece that would be set against achingly beautiful in whose concertmaster existence before these supernatural played less frequently were it not lines from the and . was Ferdinand David, Joachim’s communications. In 1937, Yehudi by a famous composer? Conversely, There is no . The intimate former teacher at Mendelssohn’s Menuhin received a copy of the score would it be more highly regarded and poignant second movement conservatory. from a German music publisher and if it wasn’t a work many consider opens with a wistful solo melody in proclaimed it a lost masterpiece. (rightly or wrongly) to be not up to its However, despite Brahms’s positive syncopated rhythm played by the His argument with d’Arányi over great composer’s highest standards? opinion of the concerto (relayed in principal cellist. This theme returns who should give the premiere was Should our knowledge of Schumann’s an 1896 conversation with American in the last movement, an energetic rendered moot when the German mental health carry any weight in our music critic Arthur Abell, later quoted rondo in polonaise style that follows government decided that a German judgment of his late compositions? the second movement without pause. in ), Joachim was clearly unable to separate his opinion soloist () should Robert Schumann (1810–1856) wrote In January 1854, Joachim played about the quality of Schumann’s introduce it to the world. The Nazis his only Violin Concerto during a two- through the concerto for Schumann composition from his emotional hoped it would take the place in the week burst of inspiration in autumn with the orchestra in Hanover where distress over his friend’s mental illness. repertoire held by the violin concerto 1853, a happy period in which he met Joachim was concertmaster. His bow So intense was Joachim’s reaction of Mendelssohn, a composer of Brahms for the first time. Schumann arm was admittedly fatigued from against Schumann’s last orchestral Jewish descent. Adolf Hitler and dedicated the concerto to his . The following month, work that he placed the manuscript in Joseph Goebbels attended the

8 9 world-premiere performance in rejected it over concerns about its movement in and a finale in with the woodwinds, leads into Berlin. Shortly thereafter, Menuhin quality. Thankfully, unlike with the , there is little resemblance the serene second movement, gave the U.S. premiere; d’Arányi Schumann, Dvorák’sv concerto was between the two works. and Mendelssohn inserts a brief, premiered it in London. taken up early on by other violinists Mendelssohn frequently urged David searching Allegretto before the final Between Menuhin’s insistence that and quickly earned its rightful place to tell him if anything in his concerto Allegro. This last movement is a the Schumann should be added to the in the repertoire. was awkward, so unnecessary typical Mendelssohnian fairy dance, short list of “greatest violin concertos” The Violin Concerto in E minor by technical challenges would not playful and sparkling. Stylistically, the concerto perfectly balances romantic and the Nazi Party’s trumpeting of Felix Mendelssohn (1809–1847) was interfere with the purity of the musical the piece as an example of German an instant success from the moment line. The focus on the beauty of the warmth and passion with classical superiority, many critics and listeners of its premiere in 1845 and has solo violin’s lyricism is evident by the elegance, restraint, and refinement. were disappointed that it didn’t never faded in popularity. One of unusual choice to forego an opening The orchestral writing is as ideally appear to live up to the hype. It has the most beloved violin concertos orchestral tutti and the inclusion of a conceived as the solo part, and the taken many years for the concerto to of all time, it is one of the most cadenza that is fully integrated into soloist’s occasional pedal point, transcend the baggage and confusion frequently performed in the entire the fabric of the first movement, countermelodies, and sections of of Joachim’s overly negative opinion repertoire. Mendelssohn began work flowing out of the development passagework are never overwhelmed and its first champions’ exaggerated on it in 1838 and carried on a lengthy and gracefully eliding into the by thickness of orchestration. enthusiasm. correspondence with its dedicatee, recapitulation with an arpeggiated Some have called Mendelssohn’s Judging Schumann’s Violin Concerto his childhood friend Ferdinand David. accompanimental figure. The typical music emotionally lightweight in on its own merits, it can rightfully be (We can only imagine to what greater approach to at this time comparison to that of other great considered a great violin concerto heights the Schumann concerto — as in the concertos by Mozart, German composers. Mendelssohn that isn’t quite on the masterpiece might have risen had it undergone Beethoven and, later, Brahms — was had a happy and comfortable level of Brahms’s. It is similar to the a similar process!) It took six years of to allow the soloist to create his or existence: his health, finances, family Dvorákv Violin Concerto in that the revisions for Mendelssohn to consider her own improvisation as a display relations, personal life, professional Dvorákv is universally acknowledged his concerto finished. vehicle, following the recapitulation. life, and consistent artistic inspiration as a truly great work that is not quite Interestingly, the key of E minor is Mendelssohn’s organic concept of rarely gave him cause for angst. among the handful of very best violin also shared by Ferdinand David’s concerto writing is also evident in (The one notable exception was the concertos. Dvorákv also wrote his Violin Concerto No. 1, Op. 10. Yet, the connectedness of the whole death of his beloved sister Fanny, concerto for Joachim, who likewise aside from both featuring a middle work. A seamless bridge, beginning in May 1847, from which Felix never recovered; he died six months later.)

10 11 Why do some believe that struggle No information currently exists of similar moments in the is the only path to enlightenment? regarding the violinist(s) for whom Violin Concerto. The Romance in F Cannot great joy be just as profound Beethoven wrote them, or the is more rhetorically and dramatically as great sorrow? With so many circumstances that inspired their wide-ranging than the one in G. Both believing that the only true “artists” creation. It has been argued that one Romances end with orchestra alone: are those who have suffered, it is or the other may have been intended the G major emphatically and the F ironic that the quality of Schumann’s as a slow movement for Beethoven’s major gently. late works is questioned precisely earlier, fragmentary Violin Concerto because of his extreme anguish. in C major. Curiously, only one The music of Ludwig van Beethoven is used against pairs of woodwinds in (1770–1827) exemplifies the outer both Romances and both Concertos. limits of both joy and despair. Even The Romances are both in Rondo form his calm and simple Romance in (ABACA), in each case with the main F major for violin and orchestra theme variated on the return. The features a stormy middle section. The theme of the Romance in F major is a Romances in G major and F major soprano-voice melody accompanied were published in 1803 and 1805, by the orchestra, while the first two respectively, slightly predating his iterations of the G major Romance’s only other completed work for violin theme feature the violin alone in a and orchestra, the Violin Concerto in technically challenging two-voice D major. Surprisingly little information texture in the instrument’s middle has been discovered about the history range. In the Romance in G, the of these well-known works by soloist has the primary melodic voice composer. The Grove Dictionary until the melancholy C section, where of Music and Musicians gives their the solo part alternates between the conjectured dates of composition melody and a descant in sixteenth as 1801–1802 and 1798, indicating notes. At the end of the final return the Romance No. 2 in F major as the of the main theme, the soloist’s long earlier piece. trill over the orchestra is reminiscent

12 13 RACHEL BARTON PINE Her festival appearances have closely associated with Powell, the , gives master classes, In both art and life, violinist Rachel included Marlboro, Ravinia, and first native-born American violinist to conducts workshops at universities, Barton Pine has an extraordinary Salzburg. Her recital performances achieve international recognition. adjudicates music competitions, ability to connect with people. have included the complete Paganini Pine won the gold medal at the J.S. creates special programs for Celebrated as a leading interpreter Caprices, all six Bach and Bach International Violin Competition children and school groups, and of classical works, her performances Partitas, Beethoven’s complete works (Leipzig, 1992) and holds prizes from offers spoken program notes or pre- combine her innate gift for emotional for violin and piano, and the world several other leading competitions concert conversations for audiences communication and her scholarly premiere of the last movement of including the Queen Elisabeth of all ages. fascination with historical research. Samuel Barber’s long-lost 1928 Violin (Brussels, 1993), Kreisler (Vienna, This is Pine’s 16th recording for She plays with passion and conviction Sonata. She regularly plays and 1992), Szigeti (Budapest, 1992), and Cedille Records, and the 25th album across an extensive repertoire. records with John Mark Rozendaal Montreal (1991) International Violin in her discography. Audiences are thrilled by her dazzling and as the period Competitions. She won honors for instrument ensemble Trio Settecento. For more about Rachel Barton Pine, technique, lustrous tone, and her interpretation of the Paganini please visit rachelbartonpine.com infectious joy in music-making. Pine writes her own cadenzas to Caprices at the Szigeti Competition Pine has appeared as a soloist with many of the works she performs, and Paganini International Violin many of the world’s most prestigious including concertos by Beethoven, Competition (Genoa, 1993). ensembles including the Chicago, Brahms, Mozart, and Paganini. She Her Rachel Elizabeth Barton Montreal, Vienna, and Baltimore is the first living composer to be Foundation assists young artists ; the Philadelphia published as part of Carl Fischer’s through various projects including Orchestra; the Royal Philharmonic, “Masters Collection” with the release the Instrument Loan Program, Grants the Mozarteum, Scottish, and of The Rachel Barton Pine Collection, for Education and Career, Global Israel Chamber Orchestras; and including original compositions, HeartStrings (supporting classical the Netherlands Radio Kamer , cadenzas, and musicians in developing countries), Filharmonie. She has worked with editions penned or arranged by Pine. and a curricular series in development such renowned conductors as Charles Pine is also music advisor and editor with the University of Michigan: The Dutoit, , , of “ Favorites,” the String Students’ Library of Music Neeme Järvi, John Nelson, Marin only published compilation of music by Black Composers. She teaches Alsop, and Placido Domingo. dedicated to, commissioned by, or , coaches youth

14 15 CHRISTOPH-MATHIAS MUELLER worked intensively and frequently with Philharmonic, Orchestre National de and the Ensemble numerous world-class artists such as Frank Lyon, Orchestre Philharmonique du Modern. In addition, he has conducted Peter Zimmermann, Simone Kermes, Luxembourg, Orchestre de Chambre de at the Musikverein in Vienna, Tonhalle in Reinhold Friedrich, and Rachel Barton Lausanne, Tonhalle Orchestra of Zurich, Düsseldorf, Philharmonic Hall in Cologne, Pine. Mueller regularly guest-conducts on the German Orchestra of and in Stavanger, Tokyo, and Seoul. the world’s great stages, his most recent Berlin, Staatskapelle , Bremer For more about performances including appearances Philharmoniker, Orchestra of the Hessian Christoph-Mathias Mueller, please visit with the Norwegian , the Radio of Frankfurt, BBC National christoph-mathias-mueller.com Royal Liverpool and Buffalo Philharmonic Orchestra of Wales, Scottish Chamber Orchestras, and the Bolshoi Theater. Orchestra, Scharoun Ensemble of the A Swiss national born in Peru, Mueller (b. 1967) made his international break- The international press ranks Christoph- through in 2000, winning the International Mathias Mueller “without a doubt“ Conducting Competition in Cadaqués, Photo by Thomas Klawunn among “the most gifted and most Spain. He received his Master’s degree interesting conductors of his generation“ in violin performance at the Basel (Gazeta Kultura, Moscow) and attests to College of Music, and his Master of his “passion“ (Frankfurter Allgemeine Music in conducting at the University of Zeitung), which, in combination with a Cincinnati. In 1995 he perfected his skills compelling precision, enables him to as a Conducting Fellow in Tanglewood, convey works in and off the mainstream to Massachusetts, working with Seiji Ozawa, both musicians and the public. Captivating Robert Spano, and Leon Fleisher. energy, artistic authenticity, and high From 2001–2005 Mueller was assistant intellectual standards characterize the conductor for the style of the Swiss conductor. Jugendorchester. During the 2004/05 Mueller has been the General Music season Mueller served as the of the Göttinger Symphonie Director of the Cairo Symphony Orchester since 2005. Under his Orchestra. He made his debut in Moscow leadership the orchestra has become with the Russian National Orchestra, one of the most inspiring ensembles and further guest performances have in German-speaking countries. He has taken him to the stages of the Czech

16 17 GÖTTINGER SYMPHONIE ORCHESTER Under Musical Director and Principal Conductor since 2005, Christoph- ALSO BY RACHEL BARTON PINE With a history going back more than 150 Mathias Mueller, innovative programs BEETHOVEN & CLEMENT VIOLIN CONCERTOS years, the Göttinger Symphonie Orchester and strikingly original projects constantly Royal Philharmonic Orchestra / José Serebrier has one of the richest traditions among break new ground. German orchestras. Its 100-plus concerts, “In all, a brilliantly mounted testament to a pair of musicians —Pine and Serebrier—who relish the exploration of music for its own and audience totalling more than 90,000 18 different nations are represented sake and for the exaltation of familiar works which resist our listeners per year make it one of the among the orchestra’s players. Invitations intellectual complacency.” most successful symphonic ensembles to perform at music festivals including — Audiophile Audition in all of central and northern . the Festival d’Echternach, Göttingen Outstanding conductors and soloists have International Handel Festival, Choriner SCOTTISH FANTASIES shared its stage ever since its founding Musiksommer, Festspiele Mecklenburg- with Alasdair Fraser, fiddle in 1862. These include , Vorpommern, and Sommerliche Musik- Scottish Chamber Orchestra / Alexander Platt , Max Reger, Eugen tage Hitzacker, further highlight the “Everything about this release by violinist Rachel Barton Pine is Jochum, Sir , , orchestra’s international standing. exceptional, from the selection of couplings to the perfor- , , Heinrich For more about the Göttinger mances themselves... Without a doubt, this is one of the Schiff, and Rudolf Buchbinder, to name Symphonie Orchester, please visit smartest and most purely lovable releases of the year.” but a few. gso-online.de —ClassicsToday.com Artists in global demand, including BRAHMS & JOACHIM VIOLIN CONCERTOS Simone Kermes, Dimitri Ashkenazy, Frank Chicago Symphony Orchestra / Carlos Kalmar Peter Zimmermann (who was made an “Recordings don’t get any better than this... Astounding!” honorary member of the GSO in 2001), — ClassicsToday.com and Rachel Barton Pine make regular 2004 Grammy Nominee guest appearances in Göttingen. Their presence underlines the international status of the orchestra which, through VIOLIN CONCERTOS OF BLACK COMPOSERS its exceptionally broad repertoire, OF THE 18TH AND 19TH CENTURIES highly acknowledged interpretations Encore Chamber Orchestra / Daniel Hege of contemporary music, numerous first performances, and acclaimed recordings, “Chicago violinist Rachel Barton struck a rich musical lode when she went digging for obscure repertoire by black has established itself as a fixture on the composers… [She] gives radiant new life to each forgotten national and international music scene. composition.” — Cleveland Plain Dealer

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