Rachel Barton Pine: Elgar and Bruch Violin Concertos

Total Page：16

File Type：pdf, Size：1020Kb

Rachel Barton Pine: Elgar and Bruch violin concertos 2 March 2018 The Strad Issue: March 2018 Description: Serenity and confidence flow in Elgar’s hard-to-pin-down concerto Musicians: Rachel Barton Pine (violin), BBC Symphony Orchestra/Andrew Litton Works: ELGAR Violin Concerto in B minor, BRUCH Violin Concerto no.1 in G minor Catalogue Number: AVIE AV2375 That most elusive of Romantic violin concertos – the Elgar – has revealed its innermost secrets to only a select few. As it is so personal, autobiographical and stubbornly resistant to generic rhetoric and virtuoso pizzazz, the main challenge is to create a convincing emotional narrative out of the music’s restless, micro-inflected probings into the human soul. This is where Rachel Barton Pine scores particularly highly, especially in the central Andante, which flows by with intermezzo-like serenity and chaste innocence. The outer movements similarly possess a poetic introspection and gentle thoughtfulness in marked contrast to a general tendency to inflate the music to epic sonic proportions. More than usual one is made aware of the music’s German antecedents – Schumann and Mendelssohn, most unmistakably – refreshingly uncontaminated by Edwardian pomp and swagger (see Session Report, March 2017). That same sense of authentic emotional contact is also strikingly felt throughout the Bruch G minor, whose opening soliloquies are instilled by Pine with a captivating sense of awestruck humility. She does not quite achieve the sense of surging forward momentum in the manner of Isaac Stern, Eugene Ormandy and his ‘fabulous’ Philadelphians (CBS/Sony), yet Pine’s noble sincerity, sensitively counterpointed by Andrew Litton and the BBC Symphony, and captured in glowing, naturally balanced sound, is still highly compelling. JULIAN HAYLOCK https://www.thestrad.com/reviews-old/rachel-barton-pine-elgar-and-bruch-violin- concertos/7603.article .

Copy Link

Recommended publications

Faculty Recital Piano Vs. Viola: a Romantic Duel Jasmin Arakawa, Piano Rudolf Haken, Five-String Viola ______
Faculty Recital Piano vs. Viola: A Romantic Duel Jasmin Arakawa, piano Rudolf Haken, five-string viola ________________________________ Sonata in E-flat Major, op. 120, no. 2 (1894) Johannes Brahms Allegro amabile (1833-1897) Allegro appassionato Andante con moto; Allegro Grandes études de Paganini (1851) Franz Liszt No. 5 (1811-1986) No. 2 No. 3 “La Campanella” Caprices (ca. 1810) Niccolò Paganini (1833-1897) No. 9 arranged by Rudolf Haken No. 17 “La Campanella” from Violin Concerto No.2 (1826) INTERMISSION Concerto in F (2014) Rudolf Haken Possum Trot (b. 1965) Triathlon Hoedown Walpurgisnacht Le Grand Tango (1982) Ástor Piazzolla (1921-1992) ________________________________ The Fourth Concert of Academic Year 2014-2015 Tuesday, September 16, 2014 7:30 p.m. A charismatic and versatile pianist, Jasmin Arakawa has performed widely in North America, Central and South America, Europe, and Japan. Described by critics as a “lyrical” pianist with “impeccable technique” (The Record), she has been heard in prestigious venues worldwide including Carnegie Hall, Salle Gaveau (Paris) and Victoria Hall (Geneva). She has appeared as a concerto soloist with the Philips Symphony Orchestra in Amsterdam, and with the Piracicaba Symphony Orchestra in Brazil. Arakawa’s interest in Spanish repertoire grew out of a series of lessons with Alicia de Larrocha in 2004. She has subsequently recorded solo and chamber pieces by Spanish and Latin American composers (LAMC Record), under the sponsorship of the Spanish Embassy as a prizewinner at the Latin American Music Competition. An avid chamber musician, she has collaborated with such artists as cellists Colin Carr and Gary Hoffman, flutists Jean Ferrandis and Marina Piccinini, clarinetist James Campbell, and the Penderecki Quartet.
[Show full text]
Maud Powell As an Advocate for Violinists, Women, and American Music Catherine C
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2012 "The Solution Lies with the American Women": Maud Powell as an Advocate for Violinists, Women, and American Music Catherine C. Williams Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC “THE SOLUTION LIES WITH THE AMERICAN WOMEN”: MAUD POWELL AS AN ADVOCATE FOR VIOLINISTS, WOMEN, AND AMERICAN MUSIC By CATHERINE C. WILLIAMS A Thesis submitted to the College of Music in partial fulfillment of the requirements for the degree of Master of Music Degree Awarded: Summer Semester, 2012 Catherine C. Williams defended this thesis on May 9th, 2012. The members of the supervisory committee were: Denise Von Glahn Professor Directing Thesis Michael Broyles Committee Member Douglass Seaton Committee Member The Graduate School has verified and approved the above-named committee members, and certifies that the thesis has been approved in accordance with university requirements. ii For Maud iii ACKNOWLEDGMENTS I would like to thank my parents and my brother, Mary Ann, Geoff, and Grant, for their unceasing support and endless love. My entire family deserves recognition, for giving encouragement, assistance, and comic relief when I needed it most. I am in great debt to Tristan, who provided comfort, strength, physics references, and a bottomless coffee mug. I would be remiss to exclude my colleagues in the musicology program here at The Florida State University. The environment we have created is incomparable. To Matt DelCiampo, Lindsey Macchiarella, and Heather Paudler: thank you for your reassurance, understanding, and great friendship.
[Show full text]
Newsletter 1
The instruments of choice for the best players in the world... MARK WOOD MARK WOOD, award winning composer, interna- Magazine, among others. tional recording artist, and electric violinist, is widely Mark is currently starring in a national TV ad campaign acknowledged as the premier electric rock violinist of for Pepsi. The music track is a Kanye West produced his generation. Mark studied under maestro Leonard hip hop version of “The Devil Went Down to Georgia” Bernstein at Tanglewood and attended the Juilliard (featuring the rapper Nas). School of Music on full scholarship, which he left Mark won an Emmy award for his music for the Tour to pursue his vision of bringing rock violin into the De France bike race on CBS-TV and received three mainstream. His first release “Voodoo Violince” is widely additional Emmy nominations. As an inventor, Mark hailed as the quintessential rock violin record. In addi- established Wood Violins, a company whose mission is tion to his own band, The Mark Wood Experience, he to make Mark’s incredible instruments available to the has received two platinum and gold records from his general public. work with Trans-Siberian Orchestra, and has toured Mark’s Electrify Your Strings!™ series of music educa- and performed with Dee Snider’s Van Helsing’s tion programs have become enormously successful Curse, Celine Dion, Billy Joel, Lenny Kravitz, and and in demand with hundreds of schools participating Jewel. Mark has been a featured guest on The Tonight around the country. Show with Jay Leno, and has had articles written His definitive electric violin method book by the about him in the New York Times, USA Today, and Time same name is a must-have for all string players.
[Show full text]
Rachel Barton Pine
Rachel Barton Pine Heralded as a leading interpreter of the great classical masterworks, international concert violinist Rachel Barton Pine thrills audiences with her dazzling technique, lustrous tone and emotional honesty. With an infectious joy in music-making and a passion for connecting historical research to performance, Pine transforms audiences’ experiences of classical music. During the 2015-16 season, Pine will perform concertos by Beethoven, Brahms, Bruch, Dvorak, Fairouz, Mozart, Sibelius and Vivaldi, with orchestras including the Santa Rosa Symphony, the New Mexico Philharmonic, and the Flagstaff, Windsor, and Gainesville Symphony Orchestras. She will continue her recital tour of the Six Bach Sonatas and Partitas for Unaccompanied Violin in Gainesville, FL and Washington, D.C. In April, 2016 Avie Records will release Pine’s performance of J.S. Bach’s Six Sonatas and Partitas for Violin. Pine recently celebrated the release of her debut album on Avie: Mozart: Complete Violin Concerto, Sinfonia Concertante, with conductor Sir Neville Marriner and The Academy of St Martin in the Fields. In September 2015 Cedille Records releases her recording of Vivaldi: The Complete Viola D’Amore Concertos with Ars Antigua. This season a high-definition, life size video of Pine playing and being interviewed will be the culminating installation of “Stradivarius: Origins and Legacy of the Greatest Violin Maker,” a new exhibit of treasures made by master violin makers including Andrea Amati, Guarneri del Gesù, and Antonio Stradivari debuting at the Musical Instrument Museum in Phoenix, AZ. Pine has appeared as soloist with many of the world’s most prestigious ensembles, including the Chicago Symphony; the Philadelphia Orchestra and the Royal Philharmonic; and the Netherlands Radio Kamer Filharmonie.
[Show full text]
Rachel Barton-Pine – Skrzypaczka 62
Sylwetki ��ycie artysty rzadko bywa usłane różami, choć nie zalicza się tego zawodu do niebezpiecznych. Może niesłusznie? Wypadek amerykańskiej skrzypaczki Rachel Barton-Pine najpewniej nigdy nie miałby miejsca, gdyby wybrała inną życiową pasję. Jednak to właśnie ona pomogła jej przeżyć i wrócić do kariery. W lutym odwiedziła Polskę. Maciej Łukasz Gołębiowski Rachel Barton-Pine – skrzypaczka 62 �� 62-64 Rachel Barton-Pine.indd 62 2/28/12 7:09:09 PM Sylwetki hoć Rachel nie mówi po polsku, jąc się makijażem, zaczęła grać na weselach w 1996 roku zagrała na stadionie Chicago a w jej nazwisku nie sposób do- i innych imprezach. Dziś mówi o tamtych Bulls swoją wirtuozowską aranżację amery- strzec związków z naszym krajem, czasach niezbyt chętnie. Będąc jeszcze dziec- kańskiego hymnu, przechodnie podchodzili jej korzenie tkwią nad Wisłą. Ciesząc się na kiem, czuła na sobie odpowiedzialność za do niej mówiąc: „Byłem tam wtedy, słysza- odwiedziny Krakowa, Warszawy i Wrocła- młodsze siostry i resztę rodziny. Nawet ma- łem, jak grałaś i naprawdę nie myślałem, wia wyznała, że jej pradziad nazywał się Do- jąc pełne stypendium w szkole, nie byłaby że skrzypce mogą brzmieć tak fantastycz- brosz i w wieku nastoletnim wyemigrował w stanie studiować i jednocześnie wystarcza- nie”. Dla Rachel brzmiały zawsze równie do Ameryki. Tam zapragnął się jak najszyb- jąco dużo pracować, by wyżywić bliskich. By wspaniale w repertuarze klasycznym, jak ciej zasymilować, więc zabronił swoim dzie- żyć, musiała grać. i wtedy, gdy grała utwory dalekie od sal *l- ciom używać języka innego niż miejscowy. W wieku 17 lat, jako najmłodsza uczest- harmonicznych. Drugą miłością artystki są W ciągu jednego pokolenia rodzina odcięła niczka i pierwsza Amerykanka, wygrała bowiem ciężki rock i heavy metal.
[Show full text]
American Violinist Rachel Barton Pine: 'Relaxing Music Makes Me Tense'
THE STRAITS TIMES American violinist Rachel Barton Pine: 'Relaxing music makes me tense' Virtuoso violinist Rachel Barton Pine is known for her intepretations of music by composers such as Bach and Paganini, and used to play in the thrash/doom heavy metal band Earthen Grave. PHOTO: COURTESY OF SINGAPORE SYMPHONY ORCHESTRA PUBLISHED OCT 14, 2019, 5:30 PM SGT Toh Wen Li (mailto:[email protected]) SINGAPORE - What do heavy metal and classical music have in common? A lot more than you think, suggests virtuoso violinist Rachel Barton Pine, who has had a lifelong passion for both. The 45-year-old Chicago native is known for her intepretations of music by composers such as Bach and Paganini, and used to play in the thrash/doom heavy metal band Earthen Grave. Speaking to The Straits Times over the phone last week from a hotel room in Salt Lake City, where she was due to perform, Pine rattles off a list of rock and heavy metal artists - from Scorpions' former lead guitarist Uli Jon Roth, to Marty Friedman of heavy metal band Megadeth - who were inspired by classical music, drawn to the emotional intensity and bombast of Romantic-era works. Paganini's Caprices "set the standard for all the fancy notes you can do on the instrument", she adds, referring to the Italian virtuoso's ﬁendishly diﬃcult solos for the violin. Pine who started playing the violin at the age of three and listening to hard rock and heavy metal when she was 10 years old, says: "After practising violin all day, I couldn't really relax by listening to classical music, because I would still be analysing it too much.
[Show full text]
Historical Performance Practice at the Beginning of the New Millennium
Historical Performance Practice at the beginning of the new millennium Dorottya Fabian An interest in early music and performing practices of the past has a long history by now. Its characteristics in the nineteenth century have been mapped by several authors, especially in relation to the revival of Johann Sebastian Bach’s music, the Cecilian Movement and various musical developments in England. Even more pub- lications are available on its twentieth-century history.1 The initiatives during the early decades (e.g. the organ and recorder movements of the 1920s, the establish- ing of the Schola Cantorum in Basel in 1933) and the contribution of pioneers like Wanda Landowska and Arnold Dolmetsch have been extensively studied togeth- er with lesser-known figures, places and institutions.2 But as is well-known, it was during the second half of the twentieth century that the Early Music or Historically Informed Performance Movement has truly taken off, becoming a major force in the world of classical music. Many books and papers have been dedicated to the history of this development, its various phases, musical characteristics, key figures, aesthetic outlook and philosophical assumptions, and its achievements. There was a burgeon- ing of such literature and heated debates during the 1980s and 1990s followed by more comprehensive and ‘corrective’ analyses published during the early years of the 2000s, most focussing on the second half of the twentieth century.3 Much less has 1 Harry Haskell, The Early Music Revival – A History, London 1988; George B. Stauffer, Changing Issues of Performance Practice, in: John Butt (Hg.), Cambridge Companion to Bach, Cambridge 1997, S.
[Show full text]
Don't Miss This Award-Winning Release For
DON’T MISS THIS AWARD-WINNING RELEASE FOR VIOLIN FANS OF ALL AGES! Rachel Barton Pine VIOLIN LULLABIES with Matthew Hagle, piano #1 on Billboard’s Traditional Classical Chart in its debut week ClassicsToday.com 10/10 winner Awarded Parent Tested Parent Approved’s Mendelssohn & Schumann coveted Seal of Approval Violin Concertos Beethoven Romances “What a beautiful recording this is! . Pine and Hagle play each [piece] idiomatically with great attention to detail and the ultimate in musical values.” Göttinger Symphonie —Fanfare Orchester “This is a winning idea that works because of well-conceived musical Christoph-Mathias motivation supported by first-rate production values. Strongly recom- Mueller mended —without age limit.” —ClassicsToday.com Find more Rachel Barton Pine recordings at cedillerecords.org 15584063_RachelBarton_MECH-NB.indd 1 8/2/2013 12:02:05 PM Producer Steven Epstein Göttinger Symphonie Engineer Bill Maylone Orchester Recorded Stadthalle Göttingen, August 28–30, 2012 Violin “ex-Soldat” Guarneri del Gesu, Cremona, 1742 Christoph-Mathias Strings Vision Titanium Solo by Thomastik-Infeld Mueller Bow Dominique Peccatte Front Cover Design Sue Cottrill Inside Booklet & Inlay Card Nancy Bieschke Cover Photography ©2013 Lisa-Marie Mazzucco FELIX MENDELSSOHN (1809–1847) Violin Concerto in E minor, Op. 64 (25:48) 1 I. Allegro molto appassionato (12:28) Cedille Records is a trademark of Cedille Chicago, NFP (fka The Chicago Classical Recording Foundation), a not-for-profit organization devoted to promoting the finest musicians and ensembles 2 II. Andante (7:05) in the Chicago area. Cedille Chicago’s activities are supported in part by contributions and grants 3 III. Allegretto non troppo — Allegro molto vivace (6:14) from individuals, foundations, corporations, and government agencies including the Irving Harris Foundation, Mesirow Financial, NIB Foundation, Negaunee Foundation, Sage Foundation, and the LUDWIG VAN BEETHOVEN (1770–1827) Illinois Arts Council, a state agency.
[Show full text]
Rachel Barton Pine, Violin Rebecca Barton Pine
Ithaca College Digital Commons @ IC All Concert & Recital Programs Concert & Recital Programs 2-2-2008 Guest Artist: Rachel Barton Pine, violin Rebecca Barton Pine Follow this and additional works at: https://digitalcommons.ithaca.edu/music_programs Part of the Music Commons Recommended Citation Barton Pine, Rebecca, "Guest Artist: Rachel Barton Pine, violin" (2008). All Concert & Recital Programs. 4181. https://digitalcommons.ithaca.edu/music_programs/4181 This Program is brought to you for free and open access by the Concert & Recital Programs at Digital Commons @ IC. It has been accepted for inclusion in All Concert & Recital Programs by an authorized administrator of Digital Commons @ IC. The Louis K. Thaler Concert Violinist Series SATURDAY FEBRUARY 2, 2008 8:15 P.M. FORD HALL, JAMES J. WHALEN CENTER FOR MUSIC ITHACA COLLEGE Rachel Barton Pine ha s appeared as a soloist with many prestigious ensembles, including the Chicago, Atlanta, St. Louis, Dallas, San Di ego, and Baltimore Symphonies; Buffalo and Rochester Philharmonics; and Philadelphia and Louisville Orchestras. Her overseas performances have included the Montreal, Vienna, New Zealand, Iceland, and Budapest Symphonies; Belgian National Orchestra; Mozarteum Orchestra; and Camerata Salzburg. She has worked with such renowned conductors as Charles Dutoit, Zubin Mehta, Erich Leinsdorf, Neeme Jarvi, Marin Alsop, Semyon Bychkov, and Placido Domingo. Her collaborations include duo performances with many noted artists, including Daniel Barenboim, Christoph Eschenba ch, William Warfield, Christopher O"Riley, and Mark o·connor. Her 2007-8 U.S. orchestral engagements include the Santa Fe, New Mexico, Puerto Rico, Jacksonville, Fox Valley, Youngstown, Northwest Indiana, Greenville and Columbus !Georgia) Symphonies, and the Dayton Philharmonic.
[Show full text]
Pmf Forgoes August Symphony Series; 3-Concert Recital Series to Replace for 2021
10431 N. Water Street P.O. Box 340 Ephraim, WI 54211 FOR IMMEDIATE RELEASE: CONTACT: Christoph Ptack April 12, 2021 Executive Director PMF FORGOES AUGUST SYMPHONY SERIES; 3-CONCERT RECITAL SERIES TO REPLACE FOR 2021 Wisconsin’s Peninsula Music Festival has been a musical Tradition of Distinction in Door County for nearly seven decades; and although this report may come as no surprise, it has now been made official. Due to many uncertainties concerning the safety and viability of producing the August Series, the Board of Directors and I have concluded that the health and welfare of our patrons and artistic constituencies must continue to take precedent over all else. It goes without saying that everyone at PMF is saddened over having to make this decision for a second time, but we are happy to be able to tell you about our plans for this summer, and beyond. Fortunately, the excitement surrounding the 2021 Series programming will remain intact, as all 5 conductors, 10 guest artists, and 29 pieces of répertoire will migrate as-is to our 70th season and be presented August 2-20, 2022. Nothing is lost, just enjoyed at a later date! In its place will be a 3-concert Recital Series featuring distinguished members of the Festival Orchestra at the Kress Pavilion in Egg Harbor. The hour-long string and piano concerts will be presented on the Thursday evenings of August 5, 12, and 19, 2021 at 7:30pm. As with our successful February Series, masks will be required at all times, temperature scans will be taken upon arrival, and seating will be socially distanced allowing for 45 patrons at each event.
[Show full text]
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.
[Show full text]
About the Music by Dr
Oct. 7-8, 2017 — page 1 About the Music by DR. RICHARD E. RODDA Violin Concerto in D major, Op. 77 (1878) — Johannes Brahms Born May 7, 1833 in Hamburg. Died April 3, 1897 in Vienna. “The healthy and ruddy colors of his skin indicated a love of nature and a habit of being in the open air in all kinds of weather; his thick straight hair of brownish color came nearly down to his shoulders. His clothes and boots were not of exactly the latest pattern, nor did they fit particularly well, but his linen was spotless.... [There was a] kindliness in his eyes ... with now and then a roguish twinkle in them that corresponded to a quality in his nature which would perhaps be best described as good-natured sarcasm.” So wrote Sir George Henschel, the singer and conductor who became the first Music Director of the Boston Symphony Or- chestra, of his friend Johannes Brahms at the time of the composition of his Violin Concerto. Brahms at 45 was coming into the full efflorescence of his talent and fame. The twenty-year gestation of the First Symphony had finally ended in 1876, and the Second Symphony came easily only a year later. He was occupied with many songs and important chamber works during the years of the mid-1870s, and the two greatest of his concertos, the B-flat for piano and the D major for violin, were both conceived in 1878. Both works were ignited by the delicious experience of his first trip to Italy in April of that year, though the Piano Concerto was soon laid aside when the Violin Concerto became his main focus during the following summer.
[Show full text]