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Home , Ennio Bolognini, Nathan Milstein, Pablo Casals, Raya Garbousova, Sophie Menter

Also with Wendy Warner on Cedille Records

“One runs out of superlatives for “[Pine and Warner] possess both a CD such as this. . . . It is a joy to power and warmth. . . . Their hear [these pieces] played with such collaboration already represents a compelling mixture of discipline, musicianship of mature insight, intelligence and excitement. [Pine] hair-raising electricity, and intense and Warner[‘s] . . . electric playing involvement. . . . Unhesitatingly puts this CD in a class of its own.” recommended.” – International Record Review – Fanfare To my teachers Kalman and Nell Novak Wendy Warner Plays Popper & Piatigorsky — Wendy Warner

Producer: Judith Sherman (1843–1913) (1903–1976)

Engineer: Bill Maylone Suite for and Piano, Variations on a Paganini Theme (1946) (16:07)* Op. 69 (27:30) Session Director: James Ginsburg bo Theme (0:29) Recorded August 27–31, 2007 (Popper Op. 11 and Op. 69) and June 26–27, 2008 1 I. Allegro giojoso (10:37) bp Variation 1 () (1:09) (Popper Op. 50 and Piatigorsky) in the Fay and Daniel Levin Performance Studio, 2 II. Tempo di Menuetto (6:07) bq WFMT, Variation 2 (Paul Hindemith) (0:46) 3 III. Ballade (4:47) br Variation 3 (Raya Garbousova) (0:32) : Joseph Gagliano, 1772 (Popper Op. 11 and Op. 69); Carl Becker, 1963 (Popper Op. 50 and Piatigorsky) 4 IV. Finale (5:50) bs Variation 4 (Erica Morini) (0:46) bt Steinway Piano Piano Technician: Charles Terr Three Pieces, Op. 11 (12:31) Variation 5 (Felix Salmond) (1:05) cu Variation 6 () (1:26) Art Direction: Adam Fleishman / www.adamfleishman.com 5 Widmung (5:59) cl Variation 7 (Yehudi Menuhin) (0:52) Front Cover Photo by Oomphotography / www.oomphotography.com 6 Humoreske (2:42) cm Variation 8 (Nathan Milstein) (0:35) 7 Mazurka (3:44) Cedille Records is a trademark of The Chicago Classical Recording Foundation, a not-for-profit cn Variation 9 () (1:20) foundation devoted to promoting the finest musicians and ensembles in the Chicago area. Im Walde, Op. 50 (23:02) co Variation 10 (self-portrait) (0:33) The Chicago Classical Recording Foundation’s activities are supported in part by contributions cp Variation 11 (Gaspar Cassado) (0:57) and grants from individuals, foundations, corporations, and government agencies including 8 No. 1 Eintritt (6:05) the Alphawood Foundation, Irving Harris Foundation, Kirkland & Ellis Foundation, The cq Variation 12 (Mischa Elman) (1:37) 9 No. 2 Gnomentanz (3:30) MacArthur Fund for Arts and Culture at Prince, NIB Foundation, Negaunee Foundation, Sage cr Variation 13 () (1:19) Foundation, Chicago Department of Cultural Affairs (CityArts III Grant), and the Illinois Arts bu No. 3 Andacht (5:25) cs Variation 14 () (0:59) Council, a state agency. bl No. 4 Reigen (2:36) ct Tempo di Marcia () (1:35) Contributions to The Chicago Classical Recording Foundation may be made bm No. 5 Herbstblume (1:58) at www.cedillerecords.org or 773-989-2515. bn No. 6 Heimkehr (3:13) *©1946 Elkan-Vogel, Inc. CEDILLE RECORDS trademark of The Chicago Classical Recording Foundation 5255 N. Lakewood Ave, Chicago IL 60640 USA Wendy Warner, cello Total Time: (79:30) 773.989.2515 tel - 773.989.2517 fax WWW.CEDILLERECORDS.ORG Eileen Buck, piano CDR 90000 111 P & C 2009 Cedille Records All Rights Reserved. Made in U.S.A

2 3 Music by Cellist Composers hadn’t been developed during Liszt’s older master’s most famous students: Popper was an accomplished melodist, The Virtuoso as Creator lifetime (1811–1886), his legend survived -composer Sophie Menter. and his themes allow the cello to sing into quasi-modern times from accounts Popper came to the cello by a sort of with a most beautiful voice. Notes by Andrea Lamoreaux that identified him as THE great piano accident. The son of a Prague cantor, This CD contains three short Popper virtuoso of all time. he initially studied the violin, but when In the early years of the 19th century, recital pieces, plus two longer suites, he went to the Prague Conservatory Niccolo Paganini wowed audiences Liszt had major impact beyond his one descriptive in the tradition of 19th- at the age of 12, the school had too throughout with his superb pianistic pyrotechnics. He composed century program music, the other more many aspiring violinists and not enough violin technique, augmented by for orchestra as well as for piano, abstract, leaning toward the tradition cellists; so he was assigned to the cello, an innate knack for showmanship. pioneering the genre of the symphonic of the cello-piano sonata. Popper’s Op. and within a few years was regularly Paganini’s sold-out recitals featured his poem, moving away from traditional 69 Suite for Cello and Piano opens with substituting for the official cello own compositions and arrangements, compositional procedures such a movement titled “Allegro giojoso,” professor. He went on to lead the cello the latter often based on popular opera as sonata form, and constantly which should mean Lively and Joking. sections of several orchestras, including arias. Each program was calculated to experimenting with harmony (some It’s really more rhapsodic than it is joking. the Vienna Philharmonic, but his solo display his special skills on the violin. of his late piano scores push the In it we hear the composer’s fondness career eventually took precedence. And thus were born twin traditions: bounds of tonality). Wagner was much for chromatic harmonies, wide-ranging Popper wrote a teaching method those of the virtuoso solo recital and of influenced by Liszt, or it might better be melodies, and full chords. The virtuoso and a great many compositions for the composer-virtuoso. said that they influenced each other. As element is strong for both players; the cello: four concertos, an instrumental a composer-virtuoso Liszt left a legacy full range of each instrument is skillfully Inspired by Paganini’s success, Franz Requiem featuring three soloists, and to succeeding generations, inspiring exploited. The structure is a basic A-B-A Liszt adapted the idiom to his own several recital pieces with piano. Later talented players to develop the progression. For the second movement, instrument, the piano, and achieved generations have tended to sneer at potential of their instruments to create Popper takes us back to the 18th century even greater triumphs. Many musicians these last works as “salon pieces,” yet both new music and successful careers. with a “Tempo di Minuetto.” Where the and music-lovers who heard Liszt they are most enjoyable to hear. They One of these was David Popper. first movement was cast in a compound survived into the 20th century and show off the instrument’s sonority to meter, 9/8, this one is in the standard 3/4 passed on to their students, friends, Popper was a Liszt protégé as well as great advantage, give interest (and time that Haydn would have used for and descendants first-hand accounts an influencee; Liszt appointed him to challenges) to the pianist, and are full the minuet movement of a symphony. of his brilliant bravura and ability to the faculty of the National Hungarian of the rich, close, tonal-yet-chromatic A simple opening melody is quickly transform the keyboard into a virtual Royal Academy of Music in 1886, and harmonies favored by Liszt, Wagner, enhanced with chromatic tones and orchestra. So even though recording he was briefly married to one of the and their followers. Furthermore,

4 5 brief shifts away from the basic D Major passages in 16th notes that contribute The German word “Widmung” Im Walde, Op. 50, is Popper’s six- tonality. There’s a soft Trio section with to the movement’s sense of forward- means Dedication; it’s the title of one movement suite evoking forest scenes an elaborate cello theme, mostly in 16th rushing intensity. A Molto tranquillo (very of Schumann’s most famous songs, and moods. Originally scored for cello notes; the return of the Minuet theme peaceful) passage lightens the mood and Popper’s piece is a song without and orchestra, in its reduced version is marked Grazioso (Gracefully), a word and the texture before the opening words subtitled Adagio for Cello and it requires the pianist to call forth an that sums up the entire movement to thematic material returns. The cello Piano. The key is F Major, the pace almost symphonic sonority via chordal perfection. part, with staccato chords in the piano, slow and heartfelt; from an intensely passages, tremolo chords, vivid accents, becomes almost like an accompanied lyrical opening the sounds become and strong octaves. Both cello and It’s a strong contrast to the evocative passage in a . more impassioned, the emotions piano are given ecstatic, long-breathed “Ballade” that follows. An Adagio in the The piano also has some brief solos, ever more agitated, until a pianissimo melodies and mostly cheerful-sounding key of F-Sharp Minor, this movement but for the next return of the main ending evokes a peace tinged with harmonies (this is for the most part a negates the genial mood of what has theme the players perform together. sadness. “Humoreske” is what it sunlit forest). “Eintritt” (Entrance), in come before with dramatic chords and A low, fortissimo cello note over a implies. The cello dances with staccato, E-Flat Major, gives us another taste of tremolos in the piano part, while the complicated piano run diminishes in accented figures augmented by octave the chromatic-tinged harmonies Popper cello presents a wandering succession volume to pianissimo as we come to the passages for the piano. The cello line favors. It’s a rhapsodic introduction, of motives characterized by falling half- final section, marked Presto. Although is virtually nonstop, while the piano’s exulting in the freedom and solitude tone and seventh or diminished-octave everything’s been quite fast so far in part is occasionally slowed down and this particular forest visitor is enjoying. intervals that produce a sense of tonal this movement, the pace picks up still intensified with sustained chords. The The mood changes for “Gnomentanz” and emotional insecurity. Hesitant further as we hear the main theme once mazurka is a triple-meter Polish dance (Gnomes’ Dance), which begins in dotted rhythmic figures are frequent. more, played mostly staccato by the popularized by Chopin’s use of its G Minor with sinister lower-register The movement dies away to a soft, cello with frenetic accompaniment from rhythm in several sets of piano pieces. figurations in both parts. The dynamic ominous ending. The “Finale,” marked the piano. The fortissimo final measures This “Mazurka” features staccato is piano; perhaps we can’t quite see Allegro con brio, brings back a cheerful feature a cello harmonic and emphatic dotted and triplet figures for both the gnomes dancing, but we know mood and sets right out with a virtuosic, A Major piano chords. players; the final section, moving from these sometimes-threatening creatures highly chromatic theme for the cello in pianissimo to fortissimo, is repeated. are close at hand. It’s a fast dance that 16th notes. Pizzicato (plucked) passages Popper may have played the three Lebhaft, the tempo marking, means builds in intensity until a more relaxed punctuate the melodies played with the pieces of his Op. 11 as a single set on Lively; the piano’s opening passage is G Major midsection, which is followed bow. The piano echoes and augments his recitals, or he may sometimes have further marked “Wild,” unmistakably by an elaborated recapitulation of the the cello’s line with big chords and rapid used them individually as encores. conveying the basic pace. original dance theme. A fortissimo

6 7 chord (pizzicato on the cello) makes an strings, instead of pushing them down Born in , a graduate of the tradition, since it’s the subject of abrupt conclusion. The mood changes all the way — giving an ethereal echo Conservatory, Piatigorsky Paganini’s Solo Violin Caprice No. 24. radically once again for “Andacht” effect. The very short fifth movement, became principal cellist of the Composers from Brahms to Andrew (Devotion), an emotional statement called “Herbstblume” (Autumn Flower), Berlin Philharmonic under Wilhelm Lloyd Webber have exploited this of love and longing. We can imagine is a lyrical, gem-like character-piece in Furtwangler at the age of 21, having theme with dazzling results. Piatigorsky the forest visitor suddenly overcome B-Flat Major. This is the forest visitor’s emigrated from the fledgling Soviet lays out the theme in a brief Allegro by nostalgia, remembering a life final glimpse of the beauties of the Union. Like Popper, though, he soon introduction, giving it to the cello experience far removed from his current forest, as we come to the Allegro Vivace left the symphony-orchestra milieu to while the piano supports with chords. forest surroundings. The cello themes, “Heimkehr” (Homeward) movement embark on a solo career. Later he would It’s a brief two-part theme in A Minor, intensely lyrical, are partnered by rapid, in 6/8 time. Nearly constant motion become a distinguished teacher on both halves repeated; the melodic agitated runs and chords for the piano. in both parts seems to imply that our the faculty of UCLA. and harmonic outlines of the theme Mostly in a soft dynamic, the texture forest wanderer is being recalled to was an important part of his life: at remain constant, so there’s always a is dramatized with sudden crescendos ordinary life after his semi-magical the Boston Symphony’s Tanglewood clear echo of the original throughout and diminuendos. The key is a return to woodland sojourn. The cello has some Festival and in partnership with violinist the variations. Piatigorsky structured E-Flat Major. almost cadenza-like runs, the piano Jascha Heifetz. In addition to playing his variations as whimsical tributes to has thick, closely-bunched chords the Romantic-era works in which he was some of his performing colleagues. The “Reigen” is a Round Dance far removed elaborated often by trills. There are most at home, Piatigorsky gave several Canadian cellist Denis Brott, a former from the ghostly echoes of the gnomes sudden accents and numerous forte- important world premieres, including Piatigorsky student, has identified the in movement two. This dance, in piano dynamic shifts. Toward the end, concertos by Hindemith, Walton, and artists associated with each variation: G Major and 3/4 time, is a cheerful a fugal theme is introduced by the two Castelnuovo-Tedesco. And like other celebration of the beauties of nature Variation 1, Moderato, Espressivo, A hands of the piano and taken up by the virtuosi before him, he tried his hand at and the joy of being alive on a sunny day. Minor, 3/4 time: Pablo Casals. Smooth cellist’s single line; the sound begins to composition. Our CD concludes with a The cello roams up and down its range legato cello playing with octaves in the die out and the pace is retarded until a set of variations he wrote originally for and plays some fast-paced chromatic lower register of the piano final strong chord. We’re home. cello and orchestra, and later arranged runs as the piano supports with strong for cello and piano. Variation 2, Energico, A Minor, 4/4 chords. Both instruments tumble to a Popper was one of the pre-eminent time: Paul Hindemith in his role as headlong conclusion, punctuated by European cellists of the 19th century; Its theme is one of the most famous viola virtuoso. Forte dynamics, strong cello harmonics — high-pitched notes Gregor Piatigorsky won worldwide in all of Western music, and it takes us accents, rapid passage-work in both created by fingers lightly pressing the admiration in the first half of the 20th. right back to the start of the virtuoso parts.

8 9 Variation 3, Allegro, Leggiero, A Minor, brooding atmosphere. echoing and letting the cello lead time: Vladimir Horowitz. Dramatic 2/4 time: Raya Garbousova, a Georgian- dynamics give us one long crescendo Variation 7, Allegro Moderato, A Minor, Variation 12, Con Passione, A Minor, born cellist who performed and taught from pianissimo to fortissimo. Double 4/8 time: . The piano 12/8 time: violinist Mischa Elman, a extensively in the U.S. Light and fleeting stops and octaves for the cello mimic is prominent with fast passage-work, beloved virtuoso of the first half of the figurations for the cello over syncopated piano figurations rendered in Horowitz’s the cello leaps up and down almost its 20th century. The piano comes to the eighth-note piano chords. dramatic style. The conclusion features entire range. fore with fast runs as the cello plays brilliant cello runs and powerful Variation 4, Vivo, Leggiero, A Minor, a more sustained line with offbeat Variation 8, Presto, A Minor, 4/4 time: keyboard chords. 2/4 time: Erica Morini, a child-prodigy accents. . Very rapid cello runs Viennese-born violinist whose career emphasize virtuosity; there’s a soft Variation 13, Allegro, A Minor/Major, 4/4 Andrea Lamoreaux is music director of was furthered by Furtwangler; she dynamic until the final accented chord. time: Ennio Bolognini, an Argentinean- WFMT-FM, Chicago’s classical music ceased performing in the 1950s and born artist who made most of his career station. died almost forgotten. This variation Variation 9, Allegretto, A Minor, 4/4 in the U.S.; he played flamenco guitar as features double-stops and octaves time: violinist Fritz Kreisler, perhaps the well as the cello. Rapid cello figurations for the cellist echoed by brief piano most famous composer-virtuoso of the are succeeded by chromatic double- comments. early 20th century. Mild and tuneful, this stops in the A Major portion, while the relaxed variation recalls Kreisler’s own Variation 5, Siciliana, A Major, 3/8 time: piano has numerous rolled chords (a la encore pieces. Felix Salmond, an English cellist who guitar?). There are several sudden loud- gave the world premiere of Elgar’s Variation 10, Tempo di Tema (Allegro), soft dynamic contrasts. concerto in 1919. The gently rocking A Minor, 2/4 time: This is a Piatigorsky Variation 14, Allegro Ma Non Troppo, “Sicilian” rhythm frames gentle self-portrait with triplet figurations for A Minor, 4/4 time: Jascha Heifetz. Crisp lyricism in both parts, before an abrupt the cello over a staccato piano part. The staccato figures for both players, trills, harmonic shift in the piano takes us motion is nonstop. and chromatic scale passages for the without pause to: Variation 11, Quasi Scherzando, A cello. The pianist does not use the Variation 6, Adagio, D Minor, 6/8 time: Minor, 6/8 time: the Spanish cellist- sustaining pedal. A brief, to-the-point Hungarian violinist Joseph Szigeti. composer Gaspar Cassado. Triplets variation, with a transitional passage Double stops on the cello and rumbling and grace notes in the cello part, leading us to: piano chords produce an almost plus numerous chords, with the piano Tempo di Marcia, A Minor/Major, 4/4

10 11 Wendy Warner, cello Symphonique de Quebec, and Calgary and Tokyo. Warner was invited to as well as with the European Soloists of Philharmonic. perform in recital and with orchestra at Luxembourg at ’s Alte Oper, Hailed by Strings magazine for her the 70th birthday celebration concert and the Orchestre National Bordeaux “youthful, surging playing, natural Additional engagements in the US for in Kronberg, Aquitaine. She toured Japan as soloist stage presence and almost frightening have included the Chicago, Boston, , and with Rostropovich in with the NHK Symphony Orchestra technique,” Wendy Warner has become Dallas, North Carolina, Jacksonville, Vivaldi’s two-cello concerto in Reims, and Japan Philharmonic, appeared one of the world’s leading cellists. New Mexico, Omaha, Nashville, and France. Festival highlights include at the Grand Teton Music Festival in Ever since she garnered international San Francisco Symphonies, and the performances with El Paso Pro-Musica a performance of the Dvořák cello attention by winning first-prize at the Minnesota and Orchestras. and at Krzysztof Penderecki’s Beethoven concerto with Eiji Oue , and Fourth International Rostropovich Around the world she has performed Easter Festival in Krakow. debuted with the Montreal Symphony, Competition in Paris in 1990, audiences with the London Symphony (at the performing Haydn’s C Major concerto. have watched Warner perform on Barbican Center), Berlin Symphony, Warner’s musical career began at age prestigious stages including New York’s Hong Kong Philharmonic, French six under the tutelage of Nell Novak, Warner’s past recordings include , Symphony Hall in Boston, Radio Philharmonic Orchestra, Iceland until she joined Mstislav Rostropovich Hindemith’s complete chamber works Walt Disney Hall in Los Angeles, Paris’s Symphony, L’Orchestre du Capitole at the Curtis Institute, from which she for cello for Bridge Records and a disc Salle Pleyel, and Berlin’s Philharmonie. de Toulouse, and L’Orchestre de Paris, graduated. Warner made her New York of 20th century violin and cello duos with which she performed the Brahms debut with the National Symphony with Rachel Barton Pine for Cedille Warner has collaborated with with violinist Anne- Orchestra conducted by Mstislav Records. Warner’s critically acclaimed leading conductors such as Mstislav Sophie Mutter, Semyon Bychkov Rostropovich in October 1990, playing CD of ’s Cello Concerto, Rostropovich, Vladimir Spivakov, conducting. Shostakovich’s First Cello Concerto. She with Marin Alsop and the Royal Scottish Christoph Eschenbach, Andre Previn, was immediately reengaged to appear National Orchestra, was recently Jesús López-Cobos, Joel Smirnoff, A passionate chamber musician, Warner with the NSO on a North American released on Naxos Records Carlos Miguel Prieto, Ignat Solzhenitsyn, has collaborated with the Vermeer tour in 1991. She was also the featured Charles Dutoit, Eiji Oue, Neeme and Fine Arts Quartets and esteemed A recipient of the prestigious Avery soloist on the Bamberg Symphony’s Järvi, and . violinist . Recital work Fisher Career Grant, Warner currently 1991 European tour, again conducted She has recently performed with the includes performances at the Music teaches at Roosevelt University’s by Rostropovich, making her debuts in Santa Barbara, Detroit, Colorado, Institute of Chicago’s Nichols Hall, the Chicago College of Performing Arts Frankfurt, , Köln, Düsseldorf, and New World Symphonies; the St. Phillips Collection in Washington DC, and resides in Chicago. and Berlin. From there, she debuted in Paul Chamber Orchestra; and the St. the Isabella Stewart Gardner Museum important music halls all over the world, Petersburg Philharmonic, Orchestre in Boston, and internationally in Milan

12 13 Eileen Buck, piano where her teachers were Eleanor and Vladmir Sokoloff and Edward Aldwell, Eileen Buck has performed as a respectively. She also studied with recitalist, chamber musician, and Carl Schachter at the City University concerto soloist in the United States, of New York Graduate Center. Ms. Canada, and Denmark. She has won Buck has taught chamber music at several competitions, including taking Queens College and piano at Vassar. First Prize at the Josef Hofmann Piano Currently, she serves on the faculty of Competition in 1996. Ms. Buck has Mannes College The New School for performed at Weill Hall, Merkin Hall, Music Preparatory Division and the and the Symphony Space in New York Hoff-Barthelson Music School, teaching City; Hertz Hall in Berkeley, California; piano and chamber music. the Herbst Theatre in San Francisco; Meyerson Hall in Dallas; and I Pro Musica Salen in Denmark. She has appeared as soloist with the Palo Alto Chamber Orchestra, Etherridge Chamber Orchestra, Collegium Westchester Orchestra, and the Mannes Orchestra. Ms. Buck is a frequent chamber music collaborator with other instrumentalists, Wendy Warner Eileen Buck including cellist Wendy Warner, with photo by Richard Reinsdorf whom she recorded Paul Hindemith’s complete works for cello and piano for Bridge Records, to universally high critical acclaim Ms. Buck received her Bachelor and Master of Music degrees from the Curtis Institute and Mannes College of Music,

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