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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 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.
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