To the memory of Harry Edlund, Capricho Latino unaccompanied violin music's greatest champion. 1 Isaac Albéniz (1860–1909) 8 Luis Jorge González (b. 1936) arr. Rachel Barton Pine 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 Francisco Tárrega (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 Henryk Szeryng)* 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 Aires de Tango (a Rachel Barton Pine)* to promoting the finest musicians and ensembles in the Chicago area. The Chicago Classical Recording Foundation’s 6 Manuel Quiroga (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) Astor Piazzolla (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 Buenos Aires 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 Spain with a strong local Europe’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 pizzicato 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.