To the memory of Harry Edlund, Capricho Latino unaccompanied music's greatest champion. 1 Isaac Albéniz (1860–1909) 8 Luis Jorge González (b. 1936) arr. Epitalamio Tanguero (a Rachel y Greg)* Producer Judith Sherman Engineer Bill Maylone Asturias (Leyenda)* (6:02) (5:48) Recorded July 13–15 and 17–18, 2009, and January 6, 2011, in the Fay and Daniel 2 Levin Performance Studio, WFMT, Chicago, IL Roque Cordero (1917–2008) 9 José White (1835–1918) Violin “ex-Soldat” Guarneri del Gesu, Cremona, 1742 Rapsodia Panameña* (9:14) Etude No. 6 (a Secundino Arango)* Strings Vision Titanium Solo by Thomastik-Infeld Bow Dominique Peccatte 3 Traditional arr. Jesús Florido (5:11) Style Director Jesús Florido Balada Española (Romance)* (2:10) bu (1852–1909) Narration Recorded December 8, 2010, at DG Entertainment, Los Angeles, CA 4 César Espejo (1892–1988) arr. Ruggiero Ricci Narration Director Marice Tobias Narration Engineer Peter Cutler Recuerdos de la Alhambra (3:47) Narration Editing James Ginsburg Prélude Ibérique (a )* bl Front Cover Photo Andrew Eccles (4:44) Joaquín Rodrigo (1901–1999) Art Direction Booklet: Nancy Bieschke; Inlay Card: Adam Fleishman/www.adamfleishman.com 5 Manuel Quiroga (1892–1961) Capriccio (Offrande à Sarasate) (6:18) Emigrantes Celtas (3:09) bm José Serebrier (b. 1938) Cedille Records is a trademark of The Chicago Classical Recording Foundation, a not-for-profit foundation devoted 6 Manuel Quiroga Aires de Tango (a Rachel Barton Pine)* to promoting the finest musicians and ensembles in the Chicago area. The Chicago Classical Recording Foundation’s (8:18) activities are supported in part by contributions and grants from individuals, foundations, corporations, and Terra!! Á Nosa!! (2:10) government agencies including the Alphawood Foundation, Irving Harris Foundation, Kirkland & Ellis Foundation, bn 7 Eugène Ysaÿe (1858–1931) (1921–1992) NIB Foundation, Negaunee Foundation, Sage Foundation, and the Illinois Arts Council, a state agency. This project arr. Rachel Barton Pine is partially supported by a CityArts grant from the City of Chicago Department of Cultural Affairs and Special Events. Sonata No. 6 (a Manuel Quiroga) (6:34) Tango Etude No. 3 con Libertango* (4:22) CONTRIBUTIONS TO THE CHICAGO CLASSICAL RECORDING FOUNDATION MAY BE MADE AT WWW.CEDILLERECORDS.ORG OR 773-989-2515. bo Alan Ridout (1934–1996) Ferdinand the Bull (10:43)

CEDILLE RECORDS trademark of The Chicago Classical Recording Foundation with Héctor Elizondo, narrator 1205 W Balmoral Ave., Chicago IL 60640, USA 773.989.2515 tel - 773.989.2517 fax WWW.CEDILLERECORDS.ORG CDR 90000 124 P & C 2011 Cedille Records All Rights Reserved. Made in U.S.A * World Premiere Recording TT: (79:38)

2 3 My interest in music for unaccompa- writing for a glorious melodic instru- composers’ country of origin or af- nied violin originated out of neces- ment that doesn't lend itself natu- filiation. I was so excited by the book A Personal Note sity. As a child growing up in a finan- rally to polyphonic self-sufficiency. that I called the author at his home in by Rachel Barton Pine cially struggling household, I faced a Even today, I continue to discover Sweden. He turned out to be a trans- number of challenges in pursuing my new ways in which to experience lator by profession and a violinist violin studies. I was fortunate to play the creativity and usefulness of this and chamber musician by avocation. on loaned instruments and receive repertoire. It's wonderful to be able Collecting music for unaccompanied scholarships to cover the cost of my to share a wide variety of music that violin had been his life’s work. As our lessons, but my family had to pay out is complete in itself when visiting friendship and correspondence pro- of pocket for many expenses that schools, radio or television stations, gressed, we initiated plans to release scholarships didn’t cover, including private homes, and alternative ven- a new edition of his book as a search- sheet music, my thrift store concert ues such as bars and cafés. I enjoy able online database. clothes, audition recording sessions, showcasing shorter unaccompanied Tragically, though only in his early and bow re-hairs. Choosing to learn violin works as encores following con- 60’s, Harry passed away suddenly and Paganini's Nel Cor Più Non Mi Sento certo performances. And, of course, unexpectedly. His widow generously for solo violin rather than his I Palpiti it is particularly satisfying to play this invited me to their home in Sweden for violin and piano, or Bartók's So- repertoire alone in the practice room. to peruse his personal collection of nata for Solo Violin instead of one of In my effort to collect as many di- more than 1,000 pieces — by far the his duo sonatas, meant less money verse solo works for my instrument world’s largest collection of music for spent on accompanist fees. What as I could find, I came across a book unaccompanied violin. I ultimately began as a practical measure soon that proved to be the Rosetta Stone became the inheritor of this treasure became a passion as I became ever of the genre: Harry Edlund’s Music trove. Sadly, Harry’s widow has also more intrigued by the beauty and for Solo Violin Unaccompanied. The since passed away. versatility of music for unaccompa- slim out-of-print volume contains nied violin. It was during my initial sorting of Har- more than 2,500 titles listed alpha- ry’s music that I first came across the While there is nothing more fulfill- betically with notes on editions and unaccompanied works by Quiroga, ing than collaborating with talented recordings, followed by indexes that Espejo, and Tárrega heard here, along colleagues, it is also fascinating to sort the works by time period and with two different arrangements of explore composers' solutions to

4 5 Asturias (I ultimately chose to create able 19th Century harmonies of José work with the fabulous Cedille artis- my own) and a version of Balada Es- White to the satisfying thorniness of tic team of Jim Ginsburg, Judy Sher- pañola (not the one included on this Roque Cordero. Even the Celtic bag- man, and Bill Maylone. Thanks also to album). Remembering the pieces for pipe was present. Two weeks of seri- Cedille’s hardworking staff, Nancy Bi- solo violin by Rodrigo, González, and ous study convinced me that this was eschke and Cindy Ross, and publicist Cordero I already knew and loved, an album I had to make. Nat Silverman. I couldn’t do any of a possible recording project imme- I’m very grateful to my friend, violin- this without the support of my man- diately presented itself. Once the ist Jesús Florido, for serving as my agement, Mel Kaplan, John Zion, and concept crystallized as music with a “dialect” or style coach as I prepared their colleagues, and my own public- Spanish or Latin American flavor — as the repertoire and played the record- ity team, Jane Covner and Allison opposed to, for example, contempo- ing sessions. I would especially like to Ravenscroft — you guys are the best! rary works by Latino composers with thank Jesús and guitarist Rene Izqui- Lastly, I would like to acknowledge no trace of the traditional music of erdo for their helpful comments on the patience and fortitude of my hus- their homelands — it seemed natural band Greg, who has generously set my arrangement of Asturias as I ex- to include important Latin-flavored perimented with chordal voicing and aside his reticence towards public works by two non-Latino composers: the placement of harmonics, pizzica- speaking and performed Ferdinand Ysaÿe’s famous Sonata No. 6 and Rid- to, ponticello, etc. It is such an honor with me for many appreciative au- out’s imaginative setting of Ferdinand to have been able to collaborate with diences of children and adults. I’m the Bull. I brought all of this music two wonderful composers, Luis Jorge looking forward to our performances with me when my husband and I went González and José Serebrier, and to of Ferdinand for the person who will on our honeymoon cruise in Decem- introduce their gorgeous new works soon arrive and become our most im- ber 2005, embarking in to the public. Voice-over narration di- portant listener of all: our first child. and journeying around the bottom of rector Marice Tobias did a terrific job Cape Horn back up to Santiago. Dur- in the studio, and watching the great ing my practice sessions on the deep actor Héctor Elizondo in action was sea, I especially enjoyed the diversity a thrill and a revelation: I know now of the repertoire, from the sounds of that not all music involves notes. Of the tango to the evocation of the course, it is always a true pleasure to Spanish guitar, and from the comfort-

6 7 Asturias is the name of a northern the piano. Albéniz was one of the piano and guitar versions for this Capricho Latino region of with a strong local ’s most vaunted pianists and arrangement. In measures 62–64, Notes by Elbio Barilari character. Its inhabitants speak his catalogue includes many major I borrow a two-octave Asturian as well as Spanish and have piano works, foremost among them technique from Bartók’s Sonata for a distinct musical tradition. Isaac the monumental suite Iberia. Solo Violin to imitate the plucking (1860–1909), a Catalonian of the guitar, while in mm. 103–04, Albéniz The global popularity of Asturias composer, included this tribute began when Albéniz’s fellow-composer I use the violin’s capability for to Asturias as a part of his Chants Francisco Tárrega (1852–1909) made legato as a way to increase the d’Espagne (Melodies of Spain) a a transcription for the guitar. The expressiveness. Occasionally, I series of pieces he started writing in tremolo device — repeated fast have taken small liberties that I 1883. notes on one or more strings — feel capture the spirit, though not the exact notes or rhythms, of the Asturias is probably the best-known is commonly associated with the piece of Spanish classical music. (It mandolin; but in 19th-century Spain, original; for example, the arpeggio runs in mm. 98 and 110. My hope is often called Leyenda (Legend), the technique was adapted for the when performing is to pay a subtitle added to Asturias in guitar, and Tárrega was one of its Asturias 1911, when the German company masters. Indeed, many popular homage to the sound of the guitar Hofmeister published the first compositions for guitar (including while embracing its new life as a piece for the violin. complete version of Albeniz’s Suite two on this CD) owe their appeal to Española.) Together with Mozart’s this technically challenging, highly Roque Cordero (1917–2008), author 40th Symphony and Vivaldi’s , emotional expressive device. Spring of Rapsodia Panameña, is the most it belongs to that select company In her introduction to “The Rachel important name in classical music of melodies that people whistle in Barton Pine Collection” (Carl Fischer, from his home country of Panamá. the streets from to Buenos 2009), Rachel Barton Pine wrote His catalogue includes a dozen major Aires. At first, Albéniz gave his piece about her arrangement of Asturias: symphonic works, several chamber the unobtrusive title Preludio; he pieces for different ensembles, wrote it for his principal medium, I drew upon elements from both The Grant Park Orchestra & Chorus conducted by Carlos Kalmar 8 9 choral and piano music. He studied Rachel Barton Pine writes: Balada Española (Romance) is another feature is not the tremolo but the composition with Ernst Krenek and I first learned Roque Cordero’s fantastically popular piece among permanent arpeggio, which creates conducting with Dimitri Mitropoulos, in 1999 when I guitar players, both professional both the melody and the feeling among others. His pieces, linked to performed it with the Chicago and amateur. A 1952 French movie, of moto perpetuo (perpetual the 20th century avant-garde style Sinfonietta. I asked for his other Forbidden Games (Jeux interdits), movement) that renders the music and often based on the twelve-tone violin works, and when I came to which used the melody, is in part so enchanting. Arpeggios are a very system, have been widely performed. Dayton, Ohio, to solo with the responsible for its widespread fame, guitar-like effect, one of the most Maestro Cordero was one of the Philharmonic a few years later, we to the point that the piece itself is natural and comfortable things a first and very few who tried to link worked on Rapsodia Panameña often called by the movie’s title. guitar can do; but this is not quite so the European dodecaphonic and together. I performed his concerto Narciso Yepes (1927–1997), the well- for the violin. When one bow needs serial languages with Latin American again in 2009 in Dayton in a concert known Spanish guitarist, claimed to to do the job of four fingers, the themes and roots. He developed that sadly became a memorial have composed it — as a young boy, knowledge of the arranger and the strong associations in the U.S., celebration. In summer 2010, I he said — but when it came to light skills of the performer are put to the where he was assistant director of gave the Panamá premiere of the that Romance had been published test. Pine’s delightful recording will the Latin American Music Center at concerto at the Alfredo Saint-Malo before his birth, and that a cylinder expand, no doubt, the fan-base of Indiana University (Bloomington) and Music Festival and also performed recording had been made around this traditional hit. 1900, an air of scandal attached to professor emeritus at Illinois State the Rapsodia. Cordero told me César Espejo (or Espéjo, in the University. The Detroit Symphony, that the gentle main theme that the claim. Nonetheless, in many French spelling) was born in Málaga, Louisville Orchestra, and Chicago begins in measure four was based guitar books, the credit still appears Spain, in 1892, son of the Spaniard Sinfonietta have all recorded his on music of the indigenous people as “Traditional, arr. Narciso Yepes.” Amador Espejo and the renowned works. (Cordero’s Eight Miniatures of Panamá. I love how this work Happily, there are no outlandish French piano and organ teacher for Small Orchestra appears on goes back and forth between Latin claims associated with the present Elisa Boucherant. His entire musical Cedille Records’ African Heritage rhythms and melodies and 12-tone version for solo violin: Venezuelan- career unfolded in , where he Symphonic Series, Vol. 2, featuring music while remaining coherent. born violinist Jesús Florido (b. 1969) played violin and conducted numerous the Chicago Sinfonietta conducted created his arrangement expressly orchestras, including those of the by Paul Freeman.) for this CD. In Romance, the central National and the Théâtre

10 11 Mogador in . He composed more gracefully incorporates the whole- Manuel Quiroga (1892–1961) was a Valencian, Basque, Asturian, or than fifty pieces, most for the violin; tone scale without compromising violin hero cut from the same cloth Gypsy, among others. Manuel his book of scales for the instrument the music’s Spanish character. This is as his idols Fritz Kreisler and Pablo Quiroga was Galician. Galicia is the is still in print. Despite his lifelong serious virtuoso writing for solo violin. de Sarasate. During his youthful, northwestern region of the peninsula, residence in France, Espejo never Espejo’s original solo version and a triumphant, and short-lived career as with a Celtic provenance and its own lost his Spanish identity or his taste second score with ad libitum piano a virtuoso he was often compared to language, Galician or gallego. Both for Spanish music. In posterity he has accompaniment were both published the latter but shared a destiny with as a composer and a well-respected suffered a notable, and notably unjust, in 1958. Another piece by Espejo, the former: like Kreisler, Quiroga was painter, the multifaceted Quiroga obscurity. He died in France in 1988. Air Tziganes, was recorded by the struck by a vehicle while walking in strove to represent his regional no less emblematic New York City. The 1932 accident identity. Although composed in Paris, In his Prélude Ibérique, dedicated to the towering violin virtuoso of his in the 1950’s (Elman Plays Hebrew brought his career as a violinist in 1924, both Quiroga pieces on this time, Henryk Szeryng (1918–1988), Melodies, Vanguard Classics). to an early end. By that time he CD bear titles or subtitles in gallego. Espejo shows himself to be in total Rachel Barton Pine has expressed was considered one of the world’s Emigrantes Celtas (Celtic command of the Spanish idiom curiosity about whether Henryk leading violin virtuosos; he was touring extensively in Europe, the Immigrants) is a fantasy for solo developed since the second half of the Szeryng knew of this piece dedicated violin based on the famous Galician 19th century by his predecessors and to him and whether he ever played it. U.S., and Latin America, often in duo folk theme Lonxe d’a terriña . . . Lonxe contemporaries Isaac Albéniz, Enrique Szeryng never recorded this Prélude but, with pianist José Iturbi, recording, and winning praise from audiences d’ó meu Lar (Far away from my Granados (1867–1916), Manuel de given Espejo’s presence at the center Motherland . . . Far away from Home). Falla (1876–1946), and Joaquín of the European musical scene of the and critics. He was also admired by his peers including Kreisler, George It presents an alternation of 3/4 and Turina (1882–1949). time, it is fairly safe to assume the 4/4 meters very typical of that region great violinist knew of the work. Enescu, , and Eugène In this work, which is otherwise a Ysaÿe, who dedicated to Quiroga his and a distinctive nostalgic feeling Espejo also dedicated a violin piece, Galicians call . perfect and powerful malagueña — a Sonata No 6, also included on this morriña dance from Málaga whose best-known Fileuse Op. 12, to fellow violinist CD. Terra!! Á Nosa!! (Land!! Our Land!!) example comes from Cuban composer Manuel Quiroga, who happens to be our next composer. There are many ways of being a is based on a popular muñeira or Ernesto Lecuona (1895–1963 ) — Espejo Spaniard: Andalusian, Catalonian,

12 13 folkloric Galician dance. It is in 6/8 César Espejo also dedicated a mask the Habanera for the first 106 Pine, and was composed as a time and presents the use of drones, piece to Quiroga. Closing the circle, bars of his piece, and then abandon wedding present. The piece was or pedal-notes, to imitate the sound Quiroga exchanged dedications it after making clear that, yes, this is written with some distinctive of the gaita (bagpipe), the most with Uruguayan composer Eduardo a Habanera after all — a very subtle elements in mind: Rachel Barton’s characteristic instrument in Galician Fabini, who was, at that time, the and demanding Habanera that fulfills outstanding virtuosity and unique music. violist of the celebrated Ysaÿe to perfection the Latino spirit of this expressiveness, and the passion Quiroga’s many-sided artistry has String Quartet, with which Quiroga recording. and typical crossed accents of the been recovered in recent years frequently played. This circle best known dance of my native Tango is neither Argentine nor through celebrations, scholarly of Spanish and Latin American country. The musical language musicians — including the elder José Uruguayan. Tango is urban music, is freely tonal. These features papers, exhibits, and concerts, the music of Buenos Aires and especially (but not only) in his White, another composer on this disc were articulated in a free sonata — brought to the European scene a , twin cities facing each form without the traditional homeland of Galicia. Ramón del other across the Río de la Plata, Valle-Inclán, one of Spain’s major Latino “touch” entirely recognizable development and it has a brief in Ysaÿe’s Sonata No 6, also known as where this genre was born around coda. poets and also a gallego, dedicated his “Spanish Caprice.” the 1880’s. Epitalamio is a Greek form to Quiroga a poem titled ¡Del Celta of lyric poetry, later imitated by the González is the author of an es la Victoria! (The Celt is the Victor!). The Habanera pattern — dotted Romans, for wedding ceremonies. impressive body of orchestral, eighth-note, sixteenth-note, and A substantial portion of this CD is It was usually sung by a choir of chamber, and vocal music. A two eighth-notes, made famous by young men and maidens, to the Guggenheim Fellow and winner devoted to music by a tight-knit Bizet’s — is probably not élite of early 20th-century violinist- accompaniment of flutes, at the door of the Radio France International from Havana, and was certainly not of the nuptial room. Guitar Competition, his works have composers revolving around the invented by Bizet. Together with the Belgian master (1858– been performed across the world. Eugène Ysaÿe clave, the Habanera’s bass motif is one Luis Jorge González (b. San Juan, 1931). Ysaÿe, whose importance González has taught theory at the of the most characteristic rhythmic , 1936) writes: Peabody Conservatory in Baltimore has increasingly been recognized in patterns in African-influenced Latin Epitalamio Tanguero is dedicated and theory and composition at the recent years, dedicated his Sonata American music. Master composer to Rachel Barton and Greg National University of San Juan, No 6 to his friend Manuel Quiroga; that he was, Ysaÿe knew how to

14 15 Argentina. Since 1982, he has been such as simultaneous bowing and regular member of the jury for the music, as in his beloved La Bella a faculty member at the University of pizzicato, and a devilishly difficult Conservatoire’s graduation exams. Cubana. Colorado Boulder. section of arpeggios with an Adored by audiences and critics Each of White’s Six Etudes (1868) Rachel Barton Pine writes: embedded melody. alike, enjoying the adulation of is dedicated to a famous violinist: Luis Jorge González and I first The son of a French father and an the musical élite and European his teacher Alard, Ernesto Camillo aristocrats, White did not forget his Sivori, Henri Vieuxtemps, Henryk met in 1999 when I performed Afro-Cuban mother, José White — the Alban Berg Violin Concerto violinist, composer and conductor native country. He composed several Wieniawski, Hubert Léonard, and at the Colorado Music Festival in — was born in Matanzas, Cuba, pieces inspired by Cuban music one Secundino Arango, whose Boulder. My encore that evening in 1836, and died in Paris in 1918. and enraged the Spanish colonial identity has intrigued European and was the Last Rose of Summer A noted child prodigy, nobody in authorities with his vigorous support American scholars. Arango, Afro- Variations by Heinrich Wilhelm his country was surprised when, in of Cuban independence, for which Cuban, born in Havana at the end Ernst. Luis gave me a copy of an 1856, he won first prize at the Paris they banned him from returning to of the 18th century and deceased unaccompanied tango-flavoredConservatoire, then the world’s the island. The founder of modern in the same city in the late 1840’s, piece he had recently written, musical mecca. There he studied with Cuba, José Martí, once commented: was a violinist, cellist, organist, and ’s Serenade. A few years later the revered French violinist Jean- “White doesn’t play, he subjugates composer of both religious music I returned to Colorado and worked Delphin Alard. ( [the violin to his will].” and popular danzones. He was also on it with him, and subsequently was his classmate.) Performing on a As a composer, José White followed White’s first violin teacher. Fittingly, became the first violinist to perform 1737 Stradivarius named “The Swan’s two tendencies: the romantic White’s Etude No. 6 is a danzón with it. Epitalamio Tanguero was a Song,” White traveled the world as a mainstream, as in his Concerto for a pyrotechnic central section much in surprise wedding present in 2004. violin virtuoso, often in the company Violin and Orchestra in F-Sharp Minor the virtuoso Parisian style of the time. Luis told me that he remembered of another eccentric talent, American (recorded by Rachel Barton Pine and Recuerdos de la Alhambra (Memories my performance of the Last pianist Louis Moreau Gottschalk. the Encore Chamber Orchestra on of Alhambra), by Francisco Tárrega Rose when writing it, and indeed At the Conservatoire, White gave Cedille Records’ Violin Concertos (1852–1909), is the one piece that it demands many of the same lessons to such future stars as Enescu by Black Composers of the 18th and might rival Asturias’s popularity technical feats as the Ernst piece, and Jacques Thibaud, and was a 19th Centuries), and popular Cuban among classical guitarists. And since

16 17 the guitar version of Asturias is a performs on this recording. She Composed in 1944, Rodrigo’s violin musical results are thrilling when co-creation of Tárrega’s, it is not un- comments: Capriccio (Offrande à Sarasate) was performed by a true virtuosa, as on reasonable to call Tárrega the most In Ruggiero Ricci’s arrangement, premiered in Madrid in 1946 by the this recording. popular classical guitar composer ever. he indicates that the bowing Spanish virtuoso Enrique Iniesta, José Serebrier (b. 1938) is a from Paganini’s Caprice No. who two years before had premiered Tárrega is considered the founder of Uruguayan-born composer and 5 (three bounced down-bows Rodrigo’s Concierto de Estío for modern technique for the classical conductor with an extensive followed by an up-bow) is to be violin and orchestra. The Capriccio is guitar. He was fascinated by the international career. At age twelve, he used throughout. This particular a very demanding piece in which the Arabic legacy in Spain; besides conducted his first concert; at 15, he technique, considered one of the violinist is asked to do unusual things, Recuerdos de la Alhambra, which won his first conducting composition. most challenging in existence, is well beyond double- and triple-stops depicts the resplendent Moorish When he was 17, his first symphony actually a specialty of mine, but and other virtuosic devices common palace in Granada, he wrote other was premiered by Leopold Stokowski. I didn’t feel that it best served in the language of the dedicatee, the Arabian-inspired pieces, notably Serebrier studied composition with the music. In my opinion, the Spanish virtuoso Pablo de Sarasate. Capricho Árabe and Danza Mora. Martinu and Copland, among others. legato approach that I take lends He also transcribed for guitar Why would Rodrigo write so difficult a His ground-breaking recording of itself better to bringing out the many keyboard compositions by piece for the violin? On the one hand, Charles Ives’s Symphony No. 4 is sustained melody notes. Beethoven, Chopin, Mendelssohn, he seems to be trying to expand the a landmark in the performance of Albéniz, and other composers, technical possibilities of the violin American music. As a composer, his thereby helping to establish the Joaquín Rodrigo (1901–1999) is as he did with the guitar. It is worth often seen as a one-piece composer catalogue includes several award- guitar as a classical instrument. noting, however, that Rodrigo was winning symphonic and chamber (Concierto de Aranjuez) or a one- blind. He lost his sight at the age of Recuerdos de la Alhambra, written instrument composer (guitar). Yet pieces. In 2004, he won the Grammy in 1896, uses the tremolo technique three after contracting diphtheria. award for “Best Classical Album” for despite the formidable popularity Rodrigo wrote his music in the Braille to reproduce the hypnotic quality of of Aranjuez (1939) and its sequel, his Carmen Symphony. Arabic music. Italian violinist Ruggiero system and his scores needed to be Fantasía para un Gentilhombre transcribed in order to be performed. Rachel Barton Pine relates: Ricci (b. 1918) made the transcription (1954), guitar music makes up less for violin that Rachel Barton Pine Whatever the reason, and as difficult Maestro Serebrier and I first met than half of Rodrigo’s catalogue. as his violin writing might be, the when we were both on the jury

18 19 of the Sphinx Competition. We history by such icons as Julio De of the Franz Clement concerto, the composer was living in Italy. have subsequently collaborated Caro, Alfredo Gobbi, Enrique Mario the idea was most appealing. I was Originally conceived for bandoneón with orchestras around the world Francini, Elvino Vardaro, and Antonio delighted to accept the invitation, (a type of concertina) and a dense and have worked on two albums Agri. In tango slang, that highly and I am equally delighted to instrumental group, the piece has together: Beethoven and Clement romantic solo style is called tocar dedicate the work to her. found life in a variety of settings. Violin Concertos with the Royal gitano (to play Gypsy) in contrast to My two previous tango-inspired Rachel Barton Pine gave a good deal Philharmonic Orchestra for the marcato rhythms that Serebrier pieces, Tango in Blue and of thought in distilling the piece to its Cedille Records and Serebrier’s also utilizes. The Uruguayan maestro Almost a Tango, and finishing/ very essence: Glazunov Complete Concertos chooses a highly chromatic language orchestrating Satie’s Tango I created this arrangement with the Russian National Orchestra that coheres with tango music as Perpétuel, had prepared me for specifically for this album project. for Warner Classics, for which I practiced from the 1940’s on. Aires this new assignment. Here was an Piazzolla never wrote anything recorded Glazunov’s Méditation de Tango, an intense reminiscence opportunity to do a virtuoso essay for unaccompanied violin, or for in D major for violin and orchestra, crystallized as an abstraction, sets the with the spirit of the tango as the violin and piano, to my knowledge. Op. 32, and Violin Concerto in A bar very high for future composers of inspiration: not an obvious tango, Violinists have therefore had to minor, Op. 82. A couple years ago, tango-inspired contemporary music. but a work that evokes the perfume resort to playing his pieces for he showed me a little tango-style Serebrier writes: of the genre, the feel and color of unaccompanied flute, the Six Tango piece that he had written for violin the tango, its nostalgia, sadness, . The published music says Aires de Tango, my most recent Etudes and piano. I liked it so much that bitterness. “For Flute (or Violin).” However, I commissioned him to write an work for solo string instrument, was commissioned by Rachel Barton those pieces are clearly defined by unaccompanied tango-inspired Astor Piazzolla (1921–1992) is the the flute, having a smaller range, work specifically for this album Pine for inclusion in her recording best-known founder, though not of short works for solo violin for slurring and figurations idiomatic project. the only one, of what is called the for a wind instrument, and no Cedille Records. Having just new tango. Piazzolla composed In his Aires de Tango (Tango Airs), recorded with her and the Royal double-stops or chords. I decided Libertango (Freedom Tango), written in 2010, Serebrier evokes with Philharmonic Orchestra (also for to take my favorite Tango Étude, total freedom the ultra-romantic violin to lyrics by the Uruguayan poet No. 3, and rethink how it might Cedille) the Beethoven concerto Horacio Arturo Ferrer, in 1990, while solos practiced throughout tango’s and the world premiere recording have been written if Piazzolla had

20 21 had the violin in mind. In order In 1938, as Spain was being ravaged butting each other (which they do Uruguayan-born composer and to do this, I spent a lot of time by civil war, Walt Disney produced not do), and so on. Same went for writer Elbio Barilari lives in Chicago. studying recordings of Piazzolla’s a cartoon that would cause riots the cartoon’s lively musical score, His music has been performed at own band and listening carefully and conflagrations across Europe. presenting flamenco guitars intertwined Millennium Park’s Pritzker Pavilion, to the playing of his violinists. Ferdinand the Bull — the story of with Mayan marimbas, stereotypical the Ravinia Festival, Lyric Opera of Realizing that the popular a gentle animal who would rather castanets, and mariachi trumpets. Chicago, and Symphony Center. was in the same key smell flowers than fight in the bullring Libertango Nevertheless, Ferdinand the Bull He has received commissions from and tempo as Tango Etude No. — won an Oscar in the cartoon is hugely beloved and, since its the Grant Park Music Festival, 3, I decided to make a medley, category. But its tender story did not creation, has never been out of the Ravinia Festival, Chicago Children’s again drawing my ideas from touch the hearts of armies that were Choir, Concertante di Chicago, and public eye. British composer Alan Piazzolla’s performances as well trying to install a fascist regime in numerous chamber ensembles. Ridout (1934–1996) was inspired, as being inspired by the playing the land of Don Quixote. Partisans three decades later, to write a new Currently, he teaches Latin American of numerous tango violinists of General Franco called the story an and beautiful score for the story which Music at the University of Illinois at who have recorded Libertango. insult to Spain. They burned copies he published in 1971. Ridout was Chicago and hosts the weekly radio I really wanted to include a bit of of the original book in the squares a prolific composer of symphonic, show Fiesta! on Chicago classical the chicharra [cicada], the special of several towns while Hitler’s choral, and chamber works within station WFMT. tango technique of scrunching commanders, who had sent troops to the tonal tradition. His Ferdinand, the bow behind the bridge, but it fight alongside Franco’s, condemned written for narrator and violin, follows didn’t seem to fit anywhere in the the book as pacifist propaganda and the plot and reflects the action with arrangement, so I finally added a had it burned in German streets. delicacy, subtlety, and humor. little introduction and included it Undoubtedly, this children’s story by there. American writer Munro Leaf (1905–1976) As a longtime fanatic of Piazzolla’s had hit a nerve. The cartoon was a music, I feel comfortable saying Astor pure Hollywood mish-mash, portraying would have been more than pleased. Mexico and Spain as the same country, showing young bulls head-

22 23 Alsop, Placido Domingo, Charles Mozart, and Paganini. In 2009, Carl 1992), Szigeti (Budapest, 1992), and Rachel Barton Pine Dutoit, Zubin Mehta, Erich Leinsdorf, Fischer published The Rachel Barton Montreal (1991) International Violin In both art and life, violinist Rachel Neeme Järvi, and Semyon Bychkov. Pine Collection, a collection of Competitions. She won honors for Barton Pine has an extraordinary Pine’s festival appearances include original compositions, arrangements, her interpretation of the Paganini ability to connect with people. Salzburg, Marlboro, and Ravinia. cadenzas, and editions penned or Caprices at the Szigeti Competition Her performances communicate Her recital performances have arranged by Pine, which earned her and Paganini International Violin the emotions of great works with included the complete Paganini the distinction of being the only Competition (Genoa, 1993). a captivating honesty, dazzling Caprices, all six Bach Sonatas and living artist and first woman to join Pine’s Rachel Elizabeth Barton technique, and lustrous tone. Pine’s Partitas, Beethoven’s complete works great musicians such as Fritz Kreisler Foundation assists young artists passion for historically-informed for violin and piano, as well as the and Jascha Heifetz in Carl Fischer’s through various projects including interpretations and joy in music- world premiere of the last movement Masters Collection series. Pine is also the Instrument Loan Program, Grants making are infectious. of Samuel Barber’s long-lost 1928 music advisor and editor of Maud for Education and Career, Global Powell Favorites, the only published Pine has appeared as soloist with . She is also an avid HeartStrings (supporting classical compilation of Powell’s transcriptions, many of the world’s most prestigious performer of early music on baroque musicians in developing countries), Powell’s cadenza for the Brahms ensembles, including the Philadelphia, violin, viola d’amore, renaissance and a curricular series developed Violin Concerto, and the music Royal Scottish, and Belgian National violin, and rebec. She regularly in conjunction with the University dedicated to, commissioned by, or Orchestras; the Chicago, Atlanta, St. performs with John Mark Rozendaal of Michigan: The String Students’ closely associated with Powell, the Louis, Dallas, Baltimore, St. Louis, and David Schrader as the period Library of Music by Black Composers. first native-born American violinist to San Diego, Montreal, Vienna, New instrument ensemble Trio Settecento, She is a Life Trustee of the Music achieve international recognition. Zealand, Iceland, and Budapest and often appears as a guest artist Institute of Chicago, which named Symphonies; Netherlands Radio with such groups as the Newberry Pine won the gold medal at the J.S. the “Rachel Barton Pine Violin Chair” Kamer Filharmonie; Russian and Consort. Bach International Violin Competition in her honor. She teaches chamber Royal Philharmonics, and the Israel Pine writes her own cadenzas to many (Leipzig, 1992), and holds prizes from music, coaches youth orchestras, and Scottish Chamber Orchestras. of the works she performs including several other leading competitions gives master classes, conducts She has worked closely with such concertos by Beethoven, Brahms, including the Queen Elisabeth workshops at universities, adjudicates renowned conductors as Marin (, 1993), Kreisler (Vienna, music competitions, creates special

24 25 programs for children and school creating a character that will be A native New Yorker, Elizondo first groups, and offers spoken program etched in television history for a long gained recognition on the New York notes or pre-concert conversations time to come. stage for his portrayal of “God” in for audiences of all ages. In 2006, she Elizondo was also nominated for Steambath, which earned him an received the prestigious Studs Terkel both a Golden Globe and American Obie Award. High praise followed Humanities Service Award for her Comedy Award for his portrayal of a for his Broadway roles in Neil Simon’s work in music education. hotel manager in the mega feature Prisoner of Second Avenue, The , and , for Pine was a torchbearer in the 1996 hit Pretty Woman. He recently Great White Hope Sly Fox Olympic torch relay and appeared as starred with Jimmy Smits in the CBS which he received a Drama Desk Award nomination, and the critically- soloist for the opening ceremonies series Cane, and joined the cast of acclaimed Broadway revival of Arthur of the Paralympic Games. She has Monk in its seventh season on USA. performed her own arrangement Elizondo is one of those rare actors Miller’s The Price, alongside Eli Wallach at the Roundabout Theatre. of the national anthem at Chicago Héctor Elizondo who continue to move back and Bulls playoff games, and at the 1996 Award-winning actor Héctor forth freely between starring roles Elizondo has also done many voice- Democratic National Convention. Elizondo (b. 1936) has a successful on Broadway, television, and feature overs, including Ken Burn’s critically career spanning nearly 50 years that This is Pine’s 12th recording for films. acclaimed PBS documentary series includes film,television, theater, Cedille Records, and the 18th album Elizondo’s other film credits include: The West, and served as the host of and radio. In 1997, Elizondo won the CBS special in her discography. For more about Love In The Time of Cholera, The Mysterious Man of the the prestigious Emmy Award for . Elizondo is especially proud Rachel Barton Pine, please visit her Music Within, Young Doctors in Shroud Outstanding Supporting Actor in a of his involvement in the prestigious website at Love, The Flamingo Kid, Nothing in Drama Series for his portrayal of Dr. LA Theatre Works, a group of 40 top www.rachelbartonpine.com. Common, Runaway Bride, American Phillip Watters on CBS’s Chicago actors who are devoting their time Gigolo, The Taking of Pelham 1-2- Hope. For six years on the show, and talent to reinstating classic radio 3, Tortilla Soup, Princess Diaries I Elizondo delivered a heartfelt and drama as a contemporary art form for & II, and Garry Marshall’s recent hit poignant performance that earned National Public Radio. Valentine’s Day. him four Emmy nominations, while

26 27 Publishers Isaac Albéniz arr. Rachel Barton Pine: Asturias (Leyenda) José Serebrier: Aires de Tango (a Rachel Barton Pine) © 2009 Carl Fischer, LLC © 2010 Peermusic Ill, Ltd Roque Cordero: Rapsodia Panameña Astor Piazzolla arr. Rachel Barton Pine: Tango Etude No. 3 con Libertango © 1989 Roque Cordero © 2010 Rachel Barton Pine Traditional arr. Jesús Florido: Balada Española (Romance) Alan Ridout: Ferdinand the Bull © 2008 Jesús Florido © 1974 Chappell & Co, Ltd., 50 New Bond Street, , United Kingdom César Espejo: Prélude Ibérique (a Henryk Szeryng) © 1958 Henry Lemoine & Co Editeurs,17 Rue Pigalle, Paris, France Manuel Quiroga: Emigrantes Celtas © 1924 Editions L. Maillochon, Paris, France Manuel Quiroga: Terra!! Á Nosa!! © 1924 Editions L. Maillochon, Paris, France Eugène Ysaÿe: Sonata No. 6 (a Manuel Quiroga) © G. Henle Verlag Luis Jorge González: Epitalamio Tanguero (a Rachel y Greg) © 2006 Sounding Solitudes Press José White: Etude No. 6 (a Secundino Arango) ©1868 Conservatoire Impérial de Musique et Déclamation Francisco Tárrega arr. Ruggiero Ricci: Recuerdos de la Alhambra © 1980 G. Schirmer, Inc. Joaquín Rodrigo: Capriccio (Offrande à Sarasate) © 1970 B.Schott’s Söhne, Mainz und, Ediciones, Joaquin Rodrigo, Madrid, Spain

28 29 Also with Rachel Barton Pine

A GERMAN BOUQUET CDR 90000 114 SOLO BAROQUE CDR 90000 078 Trio Settecento (Rachel Barton Pine, baroque violin; David Schrader, harpsichord; “This is a first-rate recital — ideally recorded — that shows an extraordinary young John Mark Rozendaal, viola da gamba/‘cello) artist at work, offering insights and interpretations that welcome repeated listen- “The virtuosity and spirit are stunning here, going from one set of interesting ing and signal a major career in progress.” — CLASSICSTODAY.COM musical challenges to the next, and carrying us along for the ride in a spate of emotional bliss.” A UDIOPHILE AUDITION — BRAHMS & JOACHIM VIOLIN CONCERTOS CDR 90000 068 BEETHOVEN & CLEMENT VIOLIN CONCERTOS CDR 90000 106 Chicago Symphony Orchestra / Carlos Kalmar Royal Philharmonic Orchestra / José Serebrier “Recordings don’t get any better than this. . . . Astounding!” “In all, a brilliantly mounted testament to a pair of musicians — Pine and — CLASSICSTODAY.COM Serebrier — who relish the exploration of music for its own sake and for the exaltation of familiar works which resist our intellectual complacency.” DOUBLE PLAY CDR 90000 047 — AUDIOPHILE AUDITION Wendy Warner, cello AN ITALIAN SOJOURN CDR 90000 099 “One runs out of superlatives for a CD such as this. . . . Barton [Pine] and Warner[‘s] Trio Settecento . . . electric playing puts this CD in a class of its own.” “This is as good a collection for a newcomer to the Baroque as it is for those who — INTERNATIONAL RECORD REVIEW want to hear these works performed at a high level.” — GRAMOPHONE INSTRUMENT OF THE DEVIL CDR 90000 041 Patrick Sinozich, piano “This disc is simply one of the finest violin recordings I’ve heard in the last AMERICAN VIRTUOSA: TRIBUTE TO MAUD POWELL CDR 90000 097 five years.” Matthew Hagle, piano — AUDIOPHILE AUDITION “Rachel Barton Pine . . . open[s] our ears to unfamiliar masterworks, outstanding arrangements and an important piece of American history.” VIOLIN CONCERTOS BY BLACK COMPOSERS OF THE 18TH & 19TH CENTURIES CDR 90000 035 — MINNESOTA PUBLIC RADIO Encore Chamber Orchestra / Daniel Hege

SCOTTISH FANTASIES FOR VIOLIN AND ORCHESTRA CDR 90000 083 “Rachel Barton [Pine] . . . gives radiant new life to each forgotten composition.” with Alasdair Fraser, fiddle; Scottish Chamber Orchestra/Alexander Platt — CLEVELAND PLAIN DEALER “Everything about this release by violinist Rachel Barton Pine is exceptional.” GEORGE FRIDERIC HANDEL: THE SONATAS FOR VIOLIN AND CONTINUO — CLASSICSTODAY.COM CDR 90000 032 David Schrader, harpsichord; John Mark Rozendaal, cello “Some of the most refreshing, life-enhancing Baroque playing heard in years.” — CHICAGO TRIBUNE