735131910620.Pdf

THIS RECORDING IS MADE POSSIBLE IN PART BY GENEROUS GIFTS FROM CD 1

anonymous (2) Aleece and Thomas Fulton John and Priscilla Richman World Premiere Recording Don and Ellen Clark Irving Harris Foundation Arch Shaw Foundation FRANZ CLEMENT (1780–1842) Donald and Jean Clark The Joan and Irwin Jacobs Fund of Suzanne Smart the Jewish Community Foundation Patrick Coyle Rita Spitz Violin Concerto in D Major (1805) (40:49) Betty Johnson 1 I. Allegro maestoso (16:06) Nancy and David Donovan John D. and Alexandra C. Nichols 2 II. Adagio (12:48) Marguerite and Cyrus Freidheim Family Foundation 3 III. Rondo: Allegro (11:50) Cadenzas by Rachel Barton Pine Producer: James Ginsburg Session Director: Judith Sherman Engineer: Bill Maylone CD 2 Graphic Design: Melanie Germond Photos of Rachel Barton Pine: Andrew Eccles LUDWIG VAN BEETHOVEN (1770–1827) Recorded: November 27 & 28, 2007 in Lyndhurst Hall, AIR Studios, Hampstead, London Violin Concerto in D Major, Op. 61 (1806) (44:21) Rachel Barton Pine’s violin: “ex-Soldat” Guarneri del Gesu, Cremona, 1742 / Strings: Vision Titanium Solo by 4 Thomastik-Infeld I. Allegro ma non troppo (24:47) 5 This recording is based on the following edition: Franz Clement: Violin Concerto in D Minor (1805), edited by Clive II. Larghetto (9:21) Brown, Recent Researches in the Music of the Nineteenth and Early Twentieth Centuries, vol. 41. Middleton, WI: A-R 6 III. Rondo (10:10) Editions, Inc., 2005. Used with permission. All rights reserved. Cadenzas by Rachel Barton Pine Cedille Records is a trademark of The Chicago Classical Recording Foundation, a not-for-profit foundation devoted to promoting the finest musicians and ensembles in the Chicago area. The Chicago Classical Recording Foundation’s activities are supported in part by contributions and grants from individuals, foundations, corporations, and government agencies including the Alphawood Foundation, Irving Harris Foundation, Kirkland & Rachel Barton Pine violin Ellis Foundation, NIB Foundation, Negaunee Foundation, Sage Foundation, Chicago Department of Cultural Affairs (CityArts III Grant), and the Illinois Arts Council, a state agency. Royal Philharmonic Orchestra Contributions to The Chicago Classical Recording Foundation may be made at www.cedillerecords.org or 773-989-2515. José Serebrier

CDR 90000 106 P&C 2008 Cedille Records TT: 85:10 Trademark of The Chicago Classical Recording Foundation. All Rights Reserved. 24 To Lee Newcomer and A PERSONAL NOTE tion with lesser-known historic repertoire, appearance at the end of my cadenza to the he asked if I would be interested in the last movement. Performer’s Music, by Rachel Barton Pine newly published first modern edition of with many thanks for Clement’s Violin Concerto in D Major. He I am very grateful to Maestro José Serebrier leading me to many new and When I was a little girl, my mom often let read me a short essay about the piece and for learning the Clement and for preparing me stay up late to watch classical music I placed my order immediately. When the both works so meticulously. I would also like exciting musical discoveries performances on PBS. I vividly remember score arrived, it only took one glance to to thank the Royal Philharmonic Orchestra (and ever larger credit card bills...) the night I saw Itzhak Perlman perform know that I had found something special. It for playing with such commitment and the Beethoven Violin Concerto. I was six is an excellent composition, but what really enthusiasm. It was a rewarding collabora- years old and had just learned the Haydn startled me were the aesthetic similarities to tion and I look forward to working with Concerto in G Major. My introduction to its Beethoven’s masterpiece. these fine musicians again. Finally, many “big sibling” was a revelation; I instinctively thanks to Clive Brown for reviving Clement’s sensed that the Beethoven was the pinnacle The Clement Concerto has not been pub- life story and concerto. of violin concertos. licly performed in approximately 200 years. There are no surviving cadenzas, so I com- I am very pleased to share with you my inter- Stylistically, Beethoven’s concerto seems posed my own for this recording. For the pretation of the Beethoven Violin Concerto to stand alone among the great works for Beethoven, I chose to record the cadenzas and I hope that you will be intrigued and violin and orchestra. The few other con- I wrote in 2001. Most cadenzas to the first moved by its worthy predecessor. certos from that time that are occasion- movement of the Beethoven begin with a ally played, most notably those of Paganini, variation on the solo violin’s first entrance. Spohr, and Rode, bear it little resemblance. However, Beethoven began his cadenza to I take a Classical period approach to the his piano transcription of the violin con- Beethoven, which accentuates its differenc- certo with the bold motif in the orchestra es from the Mendelssohn Violin Concerto. that follows the conclusions of the exposi- The Franz Clement Violin Concerto in D tion and recapitulation. I chose to start my Major turned out to be the perfect pair- cadenza with this same motif, employing my ing, setting Beethoven’s masterpiece in an own choice of harmonies. The four repeated entirely new context. notes that feature so prominently in the first movement appear many times in my In spring 2006, I received a call from the cadenza. Notably, in the final climax, I reiter- owner of my favorite sheet music store, ate them one last time, halving the speed Performer’s Music. Knowing of my fascina- for extra emphasis. They even make a brief 4 5 To Lee Newcomer and A PERSONAL NOTE tion with lesser-known historic repertoire, appearance at the end of my cadenza to the he asked if I would be interested in the last movement. Performer’s Music, by Rachel Barton Pine newly published first modern edition of with many thanks for Clement’s Violin Concerto in D Major. He I am very grateful to Maestro José Serebrier leading me to many new and When I was a little girl, my mom often let read me a short essay about the piece and for learning the Clement and for preparing me stay up late to watch classical music I placed my order immediately. When the both works so meticulously. I would also like exciting musical discoveries performances on PBS. I vividly remember score arrived, it only took one glance to to thank the Royal Philharmonic Orchestra (and ever larger credit card bills...) the night I saw Itzhak Perlman perform know that I had found something special. It for playing with such commitment and the Beethoven Violin Concerto. I was six is an excellent composition, but what really enthusiasm. It was a rewarding collabora- years old and had just learned the Haydn startled me were the aesthetic similarities to tion and I look forward to working with Concerto in G Major. My introduction to its Beethoven’s masterpiece. these fine musicians again. Finally, many “big sibling” was a revelation; I instinctively thanks to Clive Brown for reviving Clement’s sensed that the Beethoven was the pinnacle The Clement Concerto has not been pub- life story and concerto. of violin concertos. licly performed in approximately 200 years. There are no surviving cadenzas, so I com- I am very pleased to share with you my inter- Stylistically, Beethoven’s concerto seems posed my own for this recording. For the pretation of the Beethoven Violin Concerto to stand alone among the great works for Beethoven, I chose to record the cadenzas and I hope that you will be intrigued and violin and orchestra. The few other con- I wrote in 2001. Most cadenzas to the first moved by its worthy predecessor. certos from that time that are occasion- movement of the Beethoven begin with a ally played, most notably those of Paganini, variation on the solo violin’s first entrance. Spohr, and Rode, bear it little resemblance. However, Beethoven began his cadenza to I take a Classical period approach to the his piano transcription of the violin con- Beethoven, which accentuates its differenc- certo with the bold motif in the orchestra es from the Mendelssohn Violin Concerto. that follows the conclusions of the exposi- The Franz Clement Violin Concerto in D tion and recapitulation. I chose to start my Major turned out to be the perfect pair- cadenza with this same motif, employing my ing, setting Beethoven’s masterpiece in an own choice of harmonies. The four repeated entirely new context. notes that feature so prominently in the first movement appear many times in my In spring 2006, I received a call from the cadenza. Notably, in the final climax, I reiter- owner of my favorite sheet music store, ate them one last time, halving the speed Performer’s Music. Knowing of my fascina- for extra emphasis. They even make a brief 4 5 THE VIOLIN CONCERTOS OF The exceptional position of Beethoven’s possible to an artist here on earth. Mehlgrube am Neuen Markt, playing several FRANZ CLEMENT AND Violin Concerto in the Classical canon remains All wishes for your happiness, dear of his own compositions, including an early LUDWIG VAN BEETHOVEN unchallenged (although the concertos of youth; and return soon, that I may again violin concerto. At that time he was taught by Clive Brown Viotti and Spohr are now becoming increas- hear your dear magnificent playing. by his father and by a Viennese violinist ingly familiar and admired through record- named Kurzweil. In 1790 Clement and his ings), but its stylistic isolation is no longer Entirely your friend L. v. Beethoven father undertook a concert tour through Beethoven’s Violin Concerto in D major of as absolute as it once appeared. The redis- In the service of His Serene Highness Germany and Belgium to England, where 1806 has long stood alone, almost equi- covery of Franz Clement’s Violin Concerto the Elector of Cologne they stayed for two years, appearing at court distant in time from the violin concertos in D major of 1805, recorded here commer- and playing in concerts with Haydn, Salomon, of Mozart and Mendelssohn, as an isolated cially for the first time, provides a previously Vienna 1794 and Bridgetower (for whom Beethoven later and exceptional phenomenon. Except for unsuspected context for Beethoven’s master- wrote the “Kreutzer” Sonata). Paganini’s concertos, and rare performances piece. It is well known, of course, that despite Clement, in turn, clearly recognised of Viotti’s Twenty-second Violin Concerto in the dedication of the published edition of Beethoven’s genius and was a notable cham- For more than a decade after Clement’s A minor or Spohr’s Eighth Violin Concerto Beethoven’s Violin Concerto to his old friend pion of his music with the various profes- return to Vienna it seemed as if he would ful- (the “Gesangsszene”), it was for many dec- Stephan von Breuning, Beethoven actually sional and amateur ensembles of which he fill the destiny Beethoven predicted. He was ades the only violin concerto of that period wrote the work for violinist Franz Clement, was leader (concertmaster). Clement also not only an extraordinary violinist, but also known to the public. It shares few formal or as indicated by the punning inscription “par showed his appreciation in his compositions: a fine pianist. And his musical memory was stylistic characteristics with the violin con- Clemenza pour Clement” on the autograph his D major Violin Concerto owes much to phenomenal: after playing violin in Haydn’s certos of Viotti, Rode, and Kreutzer (1782– score. At this time Clement and Beethoven the example of Beethoven’s piano concer- Creation several times, for instance, he was 1824), which established the fame of the had a close musical relationship. Beethoven’s tos in its musical language and structure. able, with the aid only of a libretto, to make French Violin School throughout Europe dur- long-standing admiration for Clement’s play- Clement’s concerto may be seen, therefore, as a complete piano arrangement. According ing Beethoven’s lifetime, nor does it bear any ing and musicianship is attested by his entry a testimony to his admiration for Beethoven, to Spohr, who heard this story circa 1813, significant resemblances to the fifteen violin in Clement’s autograph album (Stammbuch), and Beethoven’s Violin Concerto, written just Clement “brought this version to Haydn for concertos (1803–1844) of Louis Spohr, which now in the Austrian National Library: over a year later, as an affectionate and his inspection. The composer was disturbed, were seen as the embodiment of excellence respectful acknowledgement of Clement’s for at first he thought that someone had sto- in the German violin concerto during the first Dear Clement: skills both as executant and composer. len his score or had copied it surreptitiously. half of the nineteenth century; and it inhab- Go forth on the way you have On closer examination he found the piano its an entirely different world from Paganini’s hitherto travelled so beautifully, so Born in Vienna in 1780, Clement displayed version so faithful that, after Clement had pyrotechnic concertos (1815–1830), which magnificently. Nature and art vie with his remarkable musical gifts at a very early looked through the original, Haydn adopted astonished Europe towards the end of each other in making you a great artist. age. He gave his first public concert when it for publication.” Spohr also recounted how Beethoven’s lifetime. Follow both and, never fear, you will he was seven years old, and the following Clement, having heard two rehearsals and reach the great — the greatest goal year performed at the court theatre and the a performance of his oratorio Das jüngste

6 7 THE VIOLIN CONCERTOS OF The exceptional position of Beethoven’s possible to an artist here on earth. Mehlgrube am Neuen Markt, playing several FRANZ CLEMENT AND Violin Concerto in the Classical canon remains All wishes for your happiness, dear of his own compositions, including an early LUDWIG VAN BEETHOVEN unchallenged (although the concertos of youth; and return soon, that I may again violin concerto. At that time he was taught by Clive Brown Viotti and Spohr are now becoming increas- hear your dear magnificent playing. by his father and by a Viennese violinist ingly familiar and admired through record- named Kurzweil. In 1790 Clement and his ings), but its stylistic isolation is no longer Entirely your friend L. v. Beethoven father undertook a concert tour through Beethoven’s Violin Concerto in D major of as absolute as it once appeared. The redis- In the service of His Serene Highness Germany and Belgium to England, where 1806 has long stood alone, almost equi- covery of Franz Clement’s Violin Concerto the Elector of Cologne they stayed for two years, appearing at court distant in time from the violin concertos in D major of 1805, recorded here commer- and playing in concerts with Haydn, Salomon, of Mozart and Mendelssohn, as an isolated cially for the first time, provides a previously Vienna 1794 and Bridgetower (for whom Beethoven later and exceptional phenomenon. Except for unsuspected context for Beethoven’s master- wrote the “Kreutzer” Sonata). Paganini’s concertos, and rare performances piece. It is well known, of course, that despite Clement, in turn, clearly recognised of Viotti’s Twenty-second Violin Concerto in the dedication of the published edition of Beethoven’s genius and was a notable cham- For more than a decade after Clement’s A minor or Spohr’s Eighth Violin Concerto Beethoven’s Violin Concerto to his old friend pion of his music with the various profes- return to Vienna it seemed as if he would ful- (the “Gesangsszene”), it was for many dec- Stephan von Breuning, Beethoven actually sional and amateur ensembles of which he fill the destiny Beethoven predicted. He was ades the only violin concerto of that period wrote the work for violinist Franz Clement, was leader (concertmaster). Clement also not only an extraordinary violinist, but also known to the public. It shares few formal or as indicated by the punning inscription “par showed his appreciation in his compositions: a fine pianist. And his musical memory was stylistic characteristics with the violin con- Clemenza pour Clement” on the autograph his D major Violin Concerto owes much to phenomenal: after playing violin in Haydn’s certos of Viotti, Rode, and Kreutzer (1782– score. At this time Clement and Beethoven the example of Beethoven’s piano concer- Creation several times, for instance, he was 1824), which established the fame of the had a close musical relationship. Beethoven’s tos in its musical language and structure. able, with the aid only of a libretto, to make French Violin School throughout Europe dur- long-standing admiration for Clement’s play- Clement’s concerto may be seen, therefore, as a complete piano arrangement. According ing Beethoven’s lifetime, nor does it bear any ing and musicianship is attested by his entry a testimony to his admiration for Beethoven, to Spohr, who heard this story circa 1813, significant resemblances to the fifteen violin in Clement’s autograph album (Stammbuch), and Beethoven’s Violin Concerto, written just Clement “brought this version to Haydn for concertos (1803–1844) of Louis Spohr, which now in the Austrian National Library: over a year later, as an affectionate and his inspection. The composer was disturbed, were seen as the embodiment of excellence respectful acknowledgement of Clement’s for at first he thought that someone had sto- in the German violin concerto during the first Dear Clement: skills both as executant and composer. len his score or had copied it surreptitiously. half of the nineteenth century; and it inhab- Go forth on the way you have On closer examination he found the piano its an entirely different world from Paganini’s hitherto travelled so beautifully, so Born in Vienna in 1780, Clement displayed version so faithful that, after Clement had pyrotechnic concertos (1815–1830), which magnificently. Nature and art vie with his remarkable musical gifts at a very early looked through the original, Haydn adopted astonished Europe towards the end of each other in making you a great artist. age. He gave his first public concert when it for publication.” Spohr also recounted how Beethoven’s lifetime. Follow both and, never fear, you will he was seven years old, and the following Clement, having heard two rehearsals and reach the great — the greatest goal year performed at the court theatre and the a performance of his oratorio Das jüngste

6 7 Gericht, was able to play large sections from is most grievous, inexcusable, and The characteristics this reviewer described unlikely that he had absolutely no advanced memory without having seen the score. beyond absolution before the judge- are apparent in Clement’s writing for the solo knowledge of what lay in store for him. ment seat of art. He has not with suf- violin in his D major Concerto. During the early part of his career Clement ficient care made use of the talents Some months after this performance, wrote a considerable amount of music. A list given him; he has not vigorously This concerto, published in the second half Beethoven began to prepare the work for of his known compositions includes twenty- advanced with the times; and when- of 1806 or early months of 1807, was pre- publication. The numerous alternative ver- five concertinos and six concertos for violin, ever one neglects to do that, one has miered at Clement’s benefit concert in the sions of the solo part that were added to the a piano concerto, and an opera, as well as necessarily outlived one’s time. Theatre and der Wien on April 7, 1805. As autograph after the premiere document the orchestral and chamber music. Many of his Music Director (concermaster) of the thea- first stage of an extensive revision that took compositions remained in manuscript and As a violinist, Clement’s independence from tre orchestra, he was entitled to an annual place before the concerto first appeared in have disappeared without trace. Surviving the prevailing trends of the period was concert from which he received the box print in 1808. Whether Clement had any copies of his published works are few and noted by contemporaries. At the height of office receipts. Such benefit concerts typi- hand in these revisions of the solo part is widely scattered, yet these show him to his powers in 1805 a reviewer in the Leipzig cally involved a concerto performed by the unclear. It has generally been assumed that have been an exceptionally gifted composer, Allgemeine musikalische Zeitung observed: concert-giver together with a selection of he did not, and that the concerto was rarely capable of handling the musical style of his orchestral and vocal music, usually including performed until the young Joseph Joachim day with confidence and imagination. By the His is not the marked, bold, strong at least one other novelty. On this occasion championed it in the 1840s. Only two further second decade of the century, however, it playing, the moving, forceful Adagio, the other novelty was the first fully public performances by Clement are known for became increasingly apparent that he was the powerful bow and tone which performance of Beethoven’s “Eroica” sym- certain: one in Dresden in 1815, the other in incapable of coping with the normal busi- characterise the Rode-Viotti School; phony conducted by its composer. It seems Vienna in 1833, six years after Beethoven’s ness of life. He fell into debt, no longer com- rather, his playing is indescribably probable that it was as a direct result of this death. But recently uncovered evidence sug- posed much, and even his career as a violin- delicate, neat and elegant; it has an collaboration that Beethoven agreed to write gests Clement’s role in crafting the final ist faltered. In his later years he was often extremely delightful tenderness and a violin concerto for the following year’s ben- version of Beethoven’s concerto may have seen wandering the streets of Vienna like cleanness that undoubtedly secures efit concert, although whether the idea was been greater than supposed. In his edition a vagrant. According to a close colleague, him a place among the most perfect first broached then or later remains unclear. of the Beethoven Violin Concerto, published Ignaz von Seyfried, writing in 1835, seven violinists. At the same time, he has In any event, Clement’s next benefit con- circa 1880, the Viennese violinist Jacob Dont years before Clement’s death: a wholly individual lightness, which cert took place on December 23, 1806. It is claimed to transmit a number of perform- makes it seem as if he merely toys evident that Beethoven left the completion ance details “on the basis of reliable tradi- Clement was a born genius. […] with the most incredible difficulties, of his concerto to the last minute, scarcely tion,” explaining in his preface that his father, Whatever he wished to do, he could and a sureness that never deserts allowing time for rehearsal; the autograph “first cellist in the Imperial and Royal Court do. But the fact that he wished to him for a moment, even in the most score shows the haste with which it was writ- Opera in Vienna in Beethoven’s time, heard perfect so little of what was in him daring passages. ten. According to Thayer’s account, Clement and accompanied the Violin Concerto, writ- is precisely his sin of omission that performed it “at sight,” although it seems ten for the then violin virtuoso Fr. Clement,

8 9 Gericht, was able to play large sections from is most grievous, inexcusable, and The characteristics this reviewer described unlikely that he had absolutely no advanced memory without having seen the score. beyond absolution before the judge- are apparent in Clement’s writing for the solo knowledge of what lay in store for him. ment seat of art. He has not with suf- violin in his D major Concerto. During the early part of his career Clement ficient care made use of the talents Some months after this performance, wrote a considerable amount of music. A list given him; he has not vigorously This concerto, published in the second half Beethoven began to prepare the work for of his known compositions includes twenty- advanced with the times; and when- of 1806 or early months of 1807, was pre- publication. The numerous alternative ver- five concertinos and six concertos for violin, ever one neglects to do that, one has miered at Clement’s benefit concert in the sions of the solo part that were added to the a piano concerto, and an opera, as well as necessarily outlived one’s time. Theatre and der Wien on April 7, 1805. As autograph after the premiere document the orchestral and chamber music. Many of his Music Director (concermaster) of the thea- first stage of an extensive revision that took compositions remained in manuscript and As a violinist, Clement’s independence from tre orchestra, he was entitled to an annual place before the concerto first appeared in have disappeared without trace. Surviving the prevailing trends of the period was concert from which he received the box print in 1808. Whether Clement had any copies of his published works are few and noted by contemporaries. At the height of office receipts. Such benefit concerts typi- hand in these revisions of the solo part is widely scattered, yet these show him to his powers in 1805 a reviewer in the Leipzig cally involved a concerto performed by the unclear. It has generally been assumed that have been an exceptionally gifted composer, Allgemeine musikalische Zeitung observed: concert-giver together with a selection of he did not, and that the concerto was rarely capable of handling the musical style of his orchestral and vocal music, usually including performed until the young Joseph Joachim day with confidence and imagination. By the His is not the marked, bold, strong at least one other novelty. On this occasion championed it in the 1840s. Only two further second decade of the century, however, it playing, the moving, forceful Adagio, the other novelty was the first fully public performances by Clement are known for became increasingly apparent that he was the powerful bow and tone which performance of Beethoven’s “Eroica” sym- certain: one in Dresden in 1815, the other in incapable of coping with the normal busi- characterise the Rode-Viotti School; phony conducted by its composer. It seems Vienna in 1833, six years after Beethoven’s ness of life. He fell into debt, no longer com- rather, his playing is indescribably probable that it was as a direct result of this death. But recently uncovered evidence sug- posed much, and even his career as a violin- delicate, neat and elegant; it has an collaboration that Beethoven agreed to write gests Clement’s role in crafting the final ist faltered. In his later years he was often extremely delightful tenderness and a violin concerto for the following year’s ben- version of Beethoven’s concerto may have seen wandering the streets of Vienna like cleanness that undoubtedly secures efit concert, although whether the idea was been greater than supposed. In his edition a vagrant. According to a close colleague, him a place among the most perfect first broached then or later remains unclear. of the Beethoven Violin Concerto, published Ignaz von Seyfried, writing in 1835, seven violinists. At the same time, he has In any event, Clement’s next benefit con- circa 1880, the Viennese violinist Jacob Dont years before Clement’s death: a wholly individual lightness, which cert took place on December 23, 1806. It is claimed to transmit a number of perform- makes it seem as if he merely toys evident that Beethoven left the completion ance details “on the basis of reliable tradi- Clement was a born genius. […] with the most incredible difficulties, of his concerto to the last minute, scarcely tion,” explaining in his preface that his father, Whatever he wished to do, he could and a sureness that never deserts allowing time for rehearsal; the autograph “first cellist in the Imperial and Royal Court do. But the fact that he wished to him for a moment, even in the most score shows the haste with which it was writ- Opera in Vienna in Beethoven’s time, heard perfect so little of what was in him daring passages. ten. According to Thayer’s account, Clement and accompanied the Violin Concerto, writ- is precisely his sin of omission that performed it “at sight,” although it seems ten for the then violin virtuoso Fr. Clement,

8 9 from the first performance on, very often in plify a specific type of Viennese concerto, poraries the way early nineteenth century which has only just emerged from two cen- Beethoven’s presence.” If, as this comment with distinctive stylistic character, structure, audiences and critics did. It seems strange, turies of obscurity, now compels renewed suggests, there were indeed further per- and unusual expansiveness in the individual therefore, that a reviewer of Clement’s 1805 admiration. It shows a degree of imagina- formances with Clement, it seems altogether movements; the slow movements, however, benefit concert, having shown little enthu- tion, seriousness of purpose, and flair that is possible that the final published version are quite different. As a contemporary critic siasm for Beethoven’s “Eroica” Symphony, worthy of many a better known composer; resulted from their continuing collaboration. noted Clement’s, with its middle section of remarked that Clement’s concerto was “really it teems with felicitous ideas that sustain rapid triplets, seems to reflect the Romanza splendidly composed and beautifully scored.” the listener’s interest; the orchestration is In any case, it is evident from the similarity of Mozart’s D minor Piano Concerto. In Even more surprising today, a reviewer of exceptionally sensitive and colourful; and with which the solo violin is handled in the addition, they exhibit a similar approach in the 1806 performance of Beethoven’s Violin the assured handling of form and the subtle two concertos that Beethoven had Clement’s their treatment of the solo instrument, and Concerto, while praising Clement’s perform- and varied harmonic style, rather more chro- style of violin playing clearly in mind while there are even many individual figurations ance enthusiastically, commented about the matic than Beethoven’s, reveal an individual composing the work. This is all the more in Beethoven’s Violin Concerto that appear work that “the opinion of all connoisseurs and sensitive appreciation of the Classical apparent when Beethoven’s writing for the to allude directly to passages in Clement’s is the same; while they acknowledge that it style. It is the work of a musician whose violin here is compared with his treatment concerto (see the preface to my edition of contains some fine things, they agree that extraordinary potential was never fulfilled, in other works, such as the Triple Concerto Clement’s Violin Concerto in D major (1805): the continuity often seems to be completely but it is not unworthy to stand beside the Op. 56, which were intended for different A-R Editions 2005, pp. ix–x). Furthermore, it disrupted, and that the endless repetitions masterpiece he helped to inspire. violinists. But the resemblances between was widely believed that Clement provided of a few commonplace passages could easily Beethoven’s and Clement’s concertos go far Beethoven with the theme for his Rondo. lead to weariness.” The critic admitted, how- ______deeper than the general character of the These connections indicate that Beethoven ever, that ‘The audience in general were very violin writing, suggesting perhaps a hid- may have wanted to pay a musical com- pleased by this Concerto and by Klement’s Professor of Applied Musicology at the den dialogue between the two composers. pliment to Clement or possibly, in typical [sic.] improvising.” The latter remark may University of Leeds (UK), Clive Brown is a Both works are externally similar. They both Beethoven fashion, he wanted to show have given rise to the often repeated myth scholar and violinist. Among his publications employ the same instrumentation: a sin- Clement how his ideas could have been that Clement improvised on an upside-down are the book Classical and Romantic Performing gle flute, two each of oboes, clarinets, bas- developed to maximum effect. violin between the first and second move- Practice (Oxford, 1999) and many critical edi- soons, horns, and trumpets, timpani, and the ments of Beethoven’s concerto, but the pro- tions of music, including Franz Clement’s D usual string body. Clement, however, uses Because Beethoven has been accepted for so gramme of the concert clearly shows that major Violin Concerto (A-R Editions, 2005) and the clarinets only in the second movement, long as the towering figure in German music this event occurred in the second part of the Beethoven’s Violin Concerto (Breitkopf und where he omits oboes, trumpets, and tim- during the first decades of the nineteenth concert, after the concerto performance. Härtel, forthcoming). pani. Beethoven, as well as omitting these century while the music of other composers instruments in his Larghetto, also omits the has faded into the background or disap- Of course, we now have a very different view flute; but he employs the clarinets in all peared almost entirely, it is difficult for us of Beethoven’s Violin Concerto. Clement’s D three movements. They both also exem- to appreciate Beethoven and his contem- major Violin Concerto, on the other hand,

10 11 from the first performance on, very often in plify a specific type of Viennese concerto, poraries the way early nineteenth century which has only just emerged from two cen- Beethoven’s presence.” If, as this comment with distinctive stylistic character, structure, audiences and critics did. It seems strange, turies of obscurity, now compels renewed suggests, there were indeed further per- and unusual expansiveness in the individual therefore, that a reviewer of Clement’s 1805 admiration. It shows a degree of imagina- formances with Clement, it seems altogether movements; the slow movements, however, benefit concert, having shown little enthu- tion, seriousness of purpose, and flair that is possible that the final published version are quite different. As a contemporary critic siasm for Beethoven’s “Eroica” Symphony, worthy of many a better known composer; resulted from their continuing collaboration. noted Clement’s, with its middle section of remarked that Clement’s concerto was “really it teems with felicitous ideas that sustain rapid triplets, seems to reflect the Romanza splendidly composed and beautifully scored.” the listener’s interest; the orchestration is In any case, it is evident from the similarity of Mozart’s D minor Piano Concerto. In Even more surprising today, a reviewer of exceptionally sensitive and colourful; and with which the solo violin is handled in the addition, they exhibit a similar approach in the 1806 performance of Beethoven’s Violin the assured handling of form and the subtle two concertos that Beethoven had Clement’s their treatment of the solo instrument, and Concerto, while praising Clement’s perform- and varied harmonic style, rather more chro- style of violin playing clearly in mind while there are even many individual figurations ance enthusiastically, commented about the matic than Beethoven’s, reveal an individual composing the work. This is all the more in Beethoven’s Violin Concerto that appear work that “the opinion of all connoisseurs and sensitive appreciation of the Classical apparent when Beethoven’s writing for the to allude directly to passages in Clement’s is the same; while they acknowledge that it style. It is the work of a musician whose violin here is compared with his treatment concerto (see the preface to my edition of contains some fine things, they agree that extraordinary potential was never fulfilled, in other works, such as the Triple Concerto Clement’s Violin Concerto in D major (1805): the continuity often seems to be completely but it is not unworthy to stand beside the Op. 56, which were intended for different A-R Editions 2005, pp. ix–x). Furthermore, it disrupted, and that the endless repetitions masterpiece he helped to inspire. violinists. But the resemblances between was widely believed that Clement provided of a few commonplace passages could easily Beethoven’s and Clement’s concertos go far Beethoven with the theme for his Rondo. lead to weariness.” The critic admitted, how- ______deeper than the general character of the These connections indicate that Beethoven ever, that ‘The audience in general were very violin writing, suggesting perhaps a hid- may have wanted to pay a musical com- pleased by this Concerto and by Klement’s Professor of Applied Musicology at the den dialogue between the two composers. pliment to Clement or possibly, in typical [sic.] improvising.” The latter remark may University of Leeds (UK), Clive Brown is a Both works are externally similar. They both Beethoven fashion, he wanted to show have given rise to the often repeated myth scholar and violinist. Among his publications employ the same instrumentation: a sin- Clement how his ideas could have been that Clement improvised on an upside-down are the book Classical and Romantic Performing gle flute, two each of oboes, clarinets, bas- developed to maximum effect. violin between the first and second move- Practice (Oxford, 1999) and many critical edi- soons, horns, and trumpets, timpani, and the ments of Beethoven’s concerto, but the pro- tions of music, including Franz Clement’s D usual string body. Clement, however, uses Because Beethoven has been accepted for so gramme of the concert clearly shows that major Violin Concerto (A-R Editions, 2005) and the clarinets only in the second movement, long as the towering figure in German music this event occurred in the second part of the Beethoven’s Violin Concerto (Breitkopf und where he omits oboes, trumpets, and tim- during the first decades of the nineteenth concert, after the concerto performance. Härtel, forthcoming). pani. Beethoven, as well as omitting these century while the music of other composers instruments in his Larghetto, also omits the has faded into the background or disap- Of course, we now have a very different view flute; but he employs the clarinets in all peared almost entirely, it is difficult for us of Beethoven’s Violin Concerto. Clement’s D three movements. They both also exem- to appreciate Beethoven and his contem- major Violin Concerto, on the other hand,

10 11 ABOUT RACHEL BARTON PINE Iceland, and Budapest Symphonies, and Ms. Pine holds prizes from several of the Ms. Pine is President of the Rachel Elizabeth the Israel and Scottish Chamber Orchestras. world’s leading competitions, including Barton Foundation and serves on the board She has worked closely with such renowned a gold medal at the 1992 J.S. Bach of trustees of many charities including the conductors as Marin Alsop, Placido Domingo, International Violin Competition in Leipzig, Music Institute of Chicago. Since 1997, she Charles Dutoit, Zubin Mehta, Erich Leinsdorf, Germany, making her the first American and has served as instructor for Mark O’Connor’s Neeme Järvi, and Semyon Bychkov. Ms. youngest performer to win this honor. Other Fiddle Camp. Ms. Pine often coaches Pine participated in the January 2000 top awards came from the Queen Elisabeth chamber music, leads sectionals for youth Mozartwoche in Salzburg at the invitation (Brussels, 1993), Kreisler (Vienna, 1992), orchestras, and gives master classes. Along of Franz Welser-Möst and made her Salzburg Szigeti (Budapest, 1992), and Montreal (1991) with touring activities, she enjoys giving Festival debut in the summer of 2001. Her US international violin competitions, as well as special programs and demonstrations for festival appearances include engagements at many national and regional competitions. children and often incorporates spoken the Marlboro, Ravinia, and Grant Park Music She won the prize for interpretation of the program notes or pre-concert conversations Festivals. Notable collaborations include Paganini Caprices at both the 1993 Paganini into her appearances. Her efforts to reach pairings with Daniel Barenboim, Christoph International Violin Competition in Genoa younger audiences have included frequent Eschenbach, Mark O’Connor, Christopher and the Szigeti Competition. interviews and performances on rock music O’Riley, and William Warfield, and her own radio stations. Charitable performances period instrument ensemble Trio Settecento. In June 1996, Ms. Pine was one of the include an annual appearance on the Jerry As a recitalist, Ms. Pine’s appearances have torchbearers in the Olympic torch relay and Lewis Telethon. She recently received the A passionate and dedicated musician, included live broadcast performances of appeared later that summer as soloist for prestigious Studs Terkel Humanities Service American violinist Rachel Barton Pine is an the complete Paganini Caprices and of all the opening ceremonies of the Paralympic Award for her work in music education. inspiration to audiences everywhere. She six Bach Sonatas and Partitas. In January Games at Centennial Olympic Stadium. has received worldwide acclaim for her 2005, Chicago’s WFMT broadcast three She performed her own virtuoso solo This is Ms. Pine’s tenth recording for Cedille profound and thoughtful interpretations live performances comprising Beethoven’s arrangement of the national anthem at Records. She also has two CDs on the Dorian delivered with tremendous enthusiasm and complete works for violin and piano, Chicago Bulls playoff games in 1995 and label featuring, respectively, violin and piano intensity, which she applies to extremely including all ten sonatas and the world 1996, and at the 1996 Democratic National music of Sarasate and Liszt, and a disc on diverse repertoire. premiere of the fragment in A. On Minnesota Convention in Chicago. Also in 1996, Cacophony Records titled Storming the Public Radio’s Saint Paul Sunday, Ms. Pine Chicago magazine selected Ms. Pine as a Citadel. Ms. Pine has appeared as soloist with many performed the world premiere of Augusta “Chicagoan of the Year” and Today’s Chicago of the world’s most prestigious ensembles, Read Thomas’s Rush, written for the artist. Woman magazine selected her as a “Woman For more about Rachel Barton Pine, including the Philadelphia Orchestra, the Other broadcast appearances include NPR’s of the Year.” She has been named “Classical including her tour dates, blog, podcast, and Chicago, Atlanta, St. Louis, Dallas, Baltimore, Performance Today and From the Top, CBS’s Entertainer of the Year” at the annual Chicago YouTube videos, please visit her website at San Diego, Montreal, Vienna, New Zealand, Sunday Morning, and NBC’s Today. Music Awards four times since 2003. www.rachelbartonpine.com 12 13 ABOUT RACHEL BARTON PINE Iceland, and Budapest Symphonies, and Ms. Pine holds prizes from several of the Ms. Pine is President of the Rachel Elizabeth the Israel and Scottish Chamber Orchestras. world’s leading competitions, including Barton Foundation and serves on the board She has worked closely with such renowned a gold medal at the 1992 J.S. Bach of trustees of many charities including the conductors as Marin Alsop, Placido Domingo, International Violin Competition in Leipzig, Music Institute of Chicago. Since 1997, she Charles Dutoit, Zubin Mehta, Erich Leinsdorf, Germany, making her the first American and has served as instructor for Mark O’Connor’s Neeme Järvi, and Semyon Bychkov. Ms. youngest performer to win this honor. Other Fiddle Camp. Ms. Pine often coaches Pine participated in the January 2000 top awards came from the Queen Elisabeth chamber music, leads sectionals for youth Mozartwoche in Salzburg at the invitation (Brussels, 1993), Kreisler (Vienna, 1992), orchestras, and gives master classes. Along of Franz Welser-Möst and made her Salzburg Szigeti (Budapest, 1992), and Montreal (1991) with touring activities, she enjoys giving Festival debut in the summer of 2001. Her US international violin competitions, as well as special programs and demonstrations for festival appearances include engagements at many national and regional competitions. children and often incorporates spoken the Marlboro, Ravinia, and Grant Park Music She won the prize for interpretation of the program notes or pre-concert conversations Festivals. Notable collaborations include Paganini Caprices at both the 1993 Paganini into her appearances. Her efforts to reach pairings with Daniel Barenboim, Christoph International Violin Competition in Genoa younger audiences have included frequent Eschenbach, Mark O’Connor, Christopher and the Szigeti Competition. interviews and performances on rock music O’Riley, and William Warfield, and her own radio stations. Charitable performances period instrument ensemble Trio Settecento. In June 1996, Ms. Pine was one of the include an annual appearance on the Jerry As a recitalist, Ms. Pine’s appearances have torchbearers in the Olympic torch relay and Lewis Telethon. She recently received the A passionate and dedicated musician, included live broadcast performances of appeared later that summer as soloist for prestigious Studs Terkel Humanities Service American violinist Rachel Barton Pine is an the complete Paganini Caprices and of all the opening ceremonies of the Paralympic Award for her work in music education. inspiration to audiences everywhere. She six Bach Sonatas and Partitas. In January Games at Centennial Olympic Stadium. has received worldwide acclaim for her 2005, Chicago’s WFMT broadcast three She performed her own virtuoso solo This is Ms. Pine’s tenth recording for Cedille profound and thoughtful interpretations live performances comprising Beethoven’s arrangement of the national anthem at Records. She also has two CDs on the Dorian delivered with tremendous enthusiasm and complete works for violin and piano, Chicago Bulls playoff games in 1995 and label featuring, respectively, violin and piano intensity, which she applies to extremely including all ten sonatas and the world 1996, and at the 1996 Democratic National music of Sarasate and Liszt, and a disc on diverse repertoire. premiere of the fragment in A. On Minnesota Convention in Chicago. Also in 1996, Cacophony Records titled Storming the Public Radio’s Saint Paul Sunday, Ms. Pine Chicago magazine selected Ms. Pine as a Citadel. Ms. Pine has appeared as soloist with many performed the world premiere of Augusta “Chicagoan of the Year” and Today’s Chicago of the world’s most prestigious ensembles, Read Thomas’s Rush, written for the artist. Woman magazine selected her as a “Woman For more about Rachel Barton Pine, including the Philadelphia Orchestra, the Other broadcast appearances include NPR’s of the Year.” She has been named “Classical including her tour dates, blog, podcast, and Chicago, Atlanta, St. Louis, Dallas, Baltimore, Performance Today and From the Top, CBS’s Entertainer of the Year” at the annual Chicago YouTube videos, please visit her website at San Diego, Montreal, Vienna, New Zealand, Sunday Morning, and NBC’s Today. Music Awards four times since 2003. www.rachelbartonpine.com 12 13 ABOUT JOSÉ SEREBRIER the Mendelssohn symphonies won the National Endowment for the Arts and the UK Music Retailers Association Award for Harvard Musical Association, the B.M.I. Grammy-winner conductor and composer Best Orchestral Recording, and his series of Award, and the Koussevitzky Foundation José Serebrier is one of today’s most recorded Shostakovich’s Film Suites won the Deutsche Award, among others. Born in Uruguay of classical artists. He has received 32 Grammy Schallplatten Award for Best Orchestral Russian and Polish parents, Serebrier has nominations in recent years. When he was Recording. Soundstage magazine selected composed more than a hundred works. 21 years old, Leopold Stokowski hailed him Serebrier’s recording of Scheherazade with His First Symphony had its première under as “the greatest master of orchestral balance.” the LPO as the Best Audiophile Recording. Leopold Stokowski (who gave the first per- After five years as Stokowski’s Associate He has recorded with the London Symphony formances of several of his works) when Conductor at New York’s Carnegie Hall, Orchestra, London Philharmonic, Royal Serebrier was seventeen. His music has Serebrier accepted an invitation from George Philharmonic, Philharmonia, Bournemouth been recorded by conductors such as John Szell to become Composer-in-Residence of Symphony, Royal Liverpool Philharmonic, Eliot Gardiner. His new Third Symphony, the Cleveland Orchestra. Szell discovered Staatskapelle Weimar, Bayerischer Rundfunk ‘Symphonie Mystique’ (Naxos 8.559183), Serebrier when he won the Ford Foundation Symphony Orchestra, SWR Symphony received a Grammy nomination for Best American Conductors Competition (togeth- Baden Baden/Freiburg, Oslo Philharmonic, New Composition of 2004. His Carmen er with James Levine). Serebrier was music Bamberg Symphony, Royal Scottish National Symphony CD, with the Barcelona Symphony director of America’s oldest music festi- Orchestra, Scottish Chamber Orchestra, Orchestra, won the Latin Grammy for Best val, in Worcester, Massachusetts, until he English Chamber Orchestra, Barcelona Classical Album of 2004. The French music organized Festival Miami, and served as Symphony, Czech State Philharmonic Brno, critic Michel Fauré has written a recent book its artistic director for many years. In that Sydney and Melbourne Symphonies, and about José Serebrier, published in 2001 capacity, he commissioned many compos- many others. “Serebrier Conducts Prokofiev, in France by L’Harmattan. Serebrier’s first ers, including Elliot Carter’s String Quartet Beethoven and Tchaikowsky,” filmed at the recording with the New York Philharmonic No. 4, and conducted many American and Sydney Opera House, has been shown doz- was released in January 2005. world premières. He has made international ens of times on U.S. television and been tours with the Juilliard Orchestra, Pittsburgh released on DVD. For more information: Symphony, Philharmonia Orchestra, Royal www.joseserebrier.com Philharmonic Orchestra, Scottish Chamber As a composer, Serebrier has won important Orchestra and the Orchestre de Chambre awards in the United States, including two National de Toulouse. His first record- Guggenheims — the first as the youngest in ing, Charles Ives’s Fourth Symphony with that Foundation’s history, at the age of nine- the London Philharmonic Orchestra, won teen. Serebrier has also garnered Rockefeller a Grammy nomination. His recording of Foundation grants, commissions from the 14 15 ABOUT JOSÉ SEREBRIER the Mendelssohn symphonies won the National Endowment for the Arts and the UK Music Retailers Association Award for Harvard Musical Association, the B.M.I. Grammy-winner conductor and composer Best Orchestral Recording, and his series of Award, and the Koussevitzky Foundation José Serebrier is one of today’s most recorded Shostakovich’s Film Suites won the Deutsche Award, among others. Born in Uruguay of classical artists. He has received 32 Grammy Schallplatten Award for Best Orchestral Russian and Polish parents, Serebrier has nominations in recent years. When he was Recording. Soundstage magazine selected composed more than a hundred works. 21 years old, Leopold Stokowski hailed him Serebrier’s recording of Scheherazade with His First Symphony had its première under as “the greatest master of orchestral balance.” the LPO as the Best Audiophile Recording. Leopold Stokowski (who gave the first per- After five years as Stokowski’s Associate He has recorded with the London Symphony formances of several of his works) when Conductor at New York’s Carnegie Hall, Orchestra, London Philharmonic, Royal Serebrier was seventeen. His music has Serebrier accepted an invitation from George Philharmonic, Philharmonia, Bournemouth been recorded by conductors such as John Szell to become Composer-in-Residence of Symphony, Royal Liverpool Philharmonic, Eliot Gardiner. His new Third Symphony, the Cleveland Orchestra. Szell discovered Staatskapelle Weimar, Bayerischer Rundfunk ‘Symphonie Mystique’ (Naxos 8.559183), Serebrier when he won the Ford Foundation Symphony Orchestra, SWR Symphony received a Grammy nomination for Best American Conductors Competition (togeth- Baden Baden/Freiburg, Oslo Philharmonic, New Composition of 2004. His Carmen er with James Levine). Serebrier was music Bamberg Symphony, Royal Scottish National Symphony CD, with the Barcelona Symphony director of America’s oldest music festi- Orchestra, Scottish Chamber Orchestra, Orchestra, won the Latin Grammy for Best val, in Worcester, Massachusetts, until he English Chamber Orchestra, Barcelona Classical Album of 2004. The French music organized Festival Miami, and served as Symphony, Czech State Philharmonic Brno, critic Michel Fauré has written a recent book its artistic director for many years. In that Sydney and Melbourne Symphonies, and about José Serebrier, published in 2001 capacity, he commissioned many compos- many others. “Serebrier Conducts Prokofiev, in France by L’Harmattan. Serebrier’s first ers, including Elliot Carter’s String Quartet Beethoven and Tchaikowsky,” filmed at the recording with the New York Philharmonic No. 4, and conducted many American and Sydney Opera House, has been shown doz- was released in January 2005. world premières. He has made international ens of times on U.S. television and been tours with the Juilliard Orchestra, Pittsburgh released on DVD. For more information: Symphony, Philharmonia Orchestra, Royal www.joseserebrier.com Philharmonic Orchestra, Scottish Chamber As a composer, Serebrier has won important Orchestra and the Orchestre de Chambre awards in the United States, including two National de Toulouse. His first record- Guggenheims — the first as the youngest in ing, Charles Ives’s Fourth Symphony with that Foundation’s history, at the age of nine- the London Philharmonic Orchestra, won teen. Serebrier has also garnered Rockefeller a Grammy nomination. His recording of Foundation grants, commissions from the 14 15 ABOUT THE Orchestra performs for thousands of people ROYAL PHILHARMONIC at open-air concerts across the country. ORCHESTRA The RPO has also toured more than thirty countries in the last five years, including Sir Thomas Beecham founded the Royal performances for the late Pope John Paul Philharmonic Orchestra in 1946 to fulfill his II in the Vatican, the President of China vision of bringing world-class performances in Tiananmen Square, and at the tenth of great music to all of England. Today’s anniversary celebration of Kazakhstan’s Royal Philharmonic Orchestra maintains independence. Beecham’s legacy by offering audiences in the UK and abroad the highest standards The RPO extends its artistic work through of music-making, collaborating with the a vibrant and innovative Community and most acclaimed artists of our time. Since its Education program. Using music as a formation, the Orchestra has been directed powerful and motivating force, the RPO by some of the world’s finest conductors works in a variety of settings including including Rudolf Kempe, Antal Dorati, André projects with young homeless people, youth Previn, and Vladimir Ashkenazy. The RPO clubs, the probation service, and schools. Photo: David Lindsay continues to thrive with a busy concert, RPO Community and Education projects touring, and recording schedule, under promote live music-making, reflecting the the leadership of Maestro Daniele Gatti. diversity of the individuals involved, as well Beginning in 2009–2010, Charles Dutoit as the Orchestra’s own background. will become Artistic Director and Principal Conductor, with Daniele Gatti continuing as One of the world’s most widely recorded Conductor Laureate. orchestras, the RPO records for all the major commercial record companies. The Orchestra Based in London, the RPO performs regularly also has its own label which includes the at Cadogan Hall (as Resident Orchestra), the popular Here Come The ClassicsTM series. Royal Albert Hall, and the Royal Festival Hall. These high-profile performances in the For more information: capital are complemented by a com- www.rpo.co.uk prehensive regional touring program. Throughout the summer months, the 16 17 ABOUT THE Orchestra performs for thousands of people ROYAL PHILHARMONIC at open-air concerts across the country. ORCHESTRA The RPO has also toured more than thirty countries in the last five years, including Sir Thomas Beecham founded the Royal performances for the late Pope John Paul Philharmonic Orchestra in 1946 to fulfill his II in the Vatican, the President of China vision of bringing world-class performances in Tiananmen Square, and at the tenth of great music to all of England. Today’s anniversary celebration of Kazakhstan’s Royal Philharmonic Orchestra maintains independence. Beecham’s legacy by offering audiences in the UK and abroad the highest standards The RPO extends its artistic work through of music-making, collaborating with the a vibrant and innovative Community and most acclaimed artists of our time. Since its Education program. Using music as a formation, the Orchestra has been directed powerful and motivating force, the RPO by some of the world’s finest conductors works in a variety of settings including including Rudolf Kempe, Antal Dorati, André projects with young homeless people, youth Previn, and Vladimir Ashkenazy. The RPO clubs, the probation service, and schools. Photo: David Lindsay continues to thrive with a busy concert, RPO Community and Education projects touring, and recording schedule, under promote live music-making, reflecting the the leadership of Maestro Daniele Gatti. diversity of the individuals involved, as well Beginning in 2009–2010, Charles Dutoit as the Orchestra’s own background. will become Artistic Director and Principal Conductor, with Daniele Gatti continuing as One of the world’s most widely recorded Conductor Laureate. orchestras, the RPO records for all the major commercial record companies. The Orchestra Based in London, the RPO performs regularly also has its own label which includes the at Cadogan Hall (as Resident Orchestra), the popular Here Come The ClassicsTM series. Royal Albert Hall, and the Royal Festival Hall. These high-profile performances in the For more information: capital are complemented by a com- www.rpo.co.uk prehensive regional touring program. Throughout the summer months, the 16 17 AN ITALIAN SOJOURN AMERICAN VIRTUOSA SCOTTISH FANTASIES CDR 90000 099 TRIBUTE TO MAUD POWELL FOR VIOLIN AND ORCHESTRA Trio Settecento CDR 90000 097 CDR 90000 083 Rachel Barton Pine, violin Rachel Barton Pine, violin Rachel Barton Pine, violin David Schrader, harpsichord Matthew Hagle, piano Alasdair Fraser, fiddle John Mark Rozendaal, ‘cello Scottish Chamber Orchestra “Rachel Barton Pine . . . open[s] our ears Alexander Platt, conductor “This is as good a collection for a new- to unfamiliar masterworks, outstanding comer to the Baroque as it is for those arrangements and an important piece of “Everything about this release by violinist who want to hear these works performed American history.” Rachel Barton Pine is exceptional.” at a high level.” GRAMOPHONE MINNESOTA PUBLIC RADIO CLASSICSTODAY.COM ON CEDILLE RECORDS RACHEL BARTON PINE

SOLO BAROQUE BRAHMS & JOACHIM DOUBLE PLAY CDR 90000 078 VIOLIN CONCERTOS CDR 90000 047 Rachel Barton Pine, violin CDR 90000 068 Rachel Barton Pine, violin Rachel Barton Pine, violin Wendy Warner, 'cello “This is a ﬁrst-rate recital — ideally recorded Chicago Symphony Orchestra ALSOWITH — that shows an extraordinary young “One runs out of superlatives for a CD such Carlos Kalmar, conductor artist at work, oﬀering insights and inter- as this. . . . Barton [Pine] and Warner[‘s] pretations that welcome repeated listen- “Recordings don’t get any better than . . . electric playing puts this CD in a class ing and signal a major career in progress.” this. . . . Astounding!” of its own.” CLASSICSTODAY.COM CLASSICSTODAY.COM INTERNATIONAL RECORD REVIEW

INSTRUMENT OF THE DEVIL VIOLIN CONCERTOS BY HANDEL: THE SONATAS CDR 90000 041 BLACK COMPOSERS OF FOR VIOLIN AND CONTINUO Rachel Barton Pine, violin THE 18th & 19th CENTURIES CDR 90000 032 Patrick Sinozich, piano CDR 90000 035 Rachel Barton Pine, violin Rachel Barton Pine, violin David Schrader, harpsichord “This disc is simply one of the ﬁnest Encore Chamber Orchestra John Mark Rozendaal, ‘cello violin recordings I’ve heard in the last Daniel Hege, conductor ﬁve years.” AUDIOPHILE AUDITION “Some of the most refreshing, life- “Rachel Barton [Pine] . . . gives radiant enhancing Baroque playing heard in new life to each forgotten composition” years.” CHICAGO TRIBUNE CLEVELAND PLAIN DEALER

18 19 AN ITALIAN SOJOURN AMERICAN VIRTUOSA SCOTTISH FANTASIES CDR 90000 099 TRIBUTE TO MAUD POWELL FOR VIOLIN AND ORCHESTRA Trio Settecento CDR 90000 097 CDR 90000 083 Rachel Barton Pine, violin Rachel Barton Pine, violin Rachel Barton Pine, violin David Schrader, harpsichord Matthew Hagle, piano Alasdair Fraser, fiddle John Mark Rozendaal, ‘cello Scottish Chamber Orchestra “Rachel Barton Pine . . . open[s] our ears Alexander Platt, conductor “This is as good a collection for a new- to unfamiliar masterworks, outstanding comer to the Baroque as it is for those arrangements and an important piece of “Everything about this release by violinist who want to hear these works performed American history.” Rachel Barton Pine is exceptional.” at a high level.” GRAMOPHONE MINNESOTA PUBLIC RADIO CLASSICSTODAY.COM ON CEDILLE RECORDS RACHEL BARTON PINE

18 19 CEDILLE RECORDS 5255 N Lakewood Ave. Chicago IL 60640 tel: 773.989.2515 fax: 773.989.2517 [email protected] 1 WWW.CEDILLERECORDS.ORG1