Tag Archives: post romantic

Rachel Barton Pine Restoring Neglected Masterpieces to the Repertoire: Dvorak and Khachaturian


bartonpinedvorak

Avie AV-2411

Rachel Barton-Pine is one of the finest and most interesting performers working today.  Her unique look at the performing repertoire for her instrument continues to be one of the most salient features of her artistry.  Certainly her interpretive abilities are foremost but her choices of neglected repertoire make any release of her recordings a reason to pay close attention.

In the past she has recorded many a neglected piece based on her interest in the music.  She has featured black composers from the baroque to the present and has managed to resurrect unjustly neglected concerti from composers of pretty much every racial and national description.  Here she features two lovely seldom heard concertos.  The Dvorak concerto from 1789 and the Khachaturian concerto from 1941.  Both are major works and a challenge to the soloist and both fit pretty much into the late romantic genre (arguably that would be “post romantic” for the Khachaturian).

The present recording is released on the Avie label which is a progressive independent label which itself boasts an impressive selection of musical works in very fine performances.  This disc is a fine example of the work they do and is a great selection for the listener’s library.  These two concertos were popular in their day but have not seen inclusion in live performances or recordings as much as other romantic concertos.  One could speculate endlessly on why this is so or one could simply celebrate the fact that we are getting to hear them in these fine and definitive recordings.

The Dvorak from 1879 is as tuneful and entertaining as any of its contemporaries (Bruch, Tchaikovsky, Brahms, etc) but for whatever reason has not received as much attention.  Regardless of why this is so I would recommend just listening and drawing your own conclusions.  This three movement work is as challenging technically and as entertaining a concerto as any currently in regular performance.  This work is one of the finest examples of the high romanticism of the late 19th century and one hope this recording will help cement the piece into a more frequent visitor to both concert halls and recordings.

The Khachaturian (from 1940) began its life during the throes of the WWII under the oppressive political scrutiny of Josef Stalin and his regime.  Khachaturian, who is now recognized quite properly as an Armenian composer, was then subsumed into the mix of the vast gaggle of countries and cultures under the rubric of the USSR.  And while this is not particularly or obviously ethnic as other music from this region it is important to know that the composer’s identity was “Russian” by default and not by choice.  Regardless of those considerations one must be grateful for the fact that the oppressive regime was able to recognize a quality work (also one in three movements) and give it the “Stalin prize”.  Doubtless there are influences gleaned from the composer’s efforts to not offend the conservative tastes of the ruling elite but the bottom line here is that we have a true masterpiece of the concerto genre and one which deserves serious attention and continued performances.

The useful liner notes are by the soloist, a fact which spotlights her musicological interests and her ability to communicate with an audience verbally as well as musically.  In fact a quick perusal of Rachel’s web site will lead the interested to some of her more pedagogical efforts featuring scores of some of these lesser known masterpieces.

And, oh yes, there are large orchestral duties here too.  The wonderful Royal Scottish National Orchestra is led by the rising star conductor/composer Teddy Abrams who recently took over leadership of another supporter of new and/or neglected musics, the venerable Louisville Orchestra.  Founded in 1937 they have carried the torch for new music and celebrated the inclusion of all genders and ethnicities in their musical vision, an embodiment of the very intent of the phrase, “E Pluribus Unum” especially in this musical context.

All in all a great disc which is unlikely to duplicate anything in your collection but one to which you will doubtless return for sheer entertainment and joy.

Advertisement

The Ecstasy of Enjoyment: Sharon Isbin with the Pacifica Quartet


isbinpacqr

Cedille CDR 9000 190

I was delighted to have had the opportunity to speak with guitarist Sharon Isbin (1956-) about this fine album.  She appeared to be in the midst of a queue of interviewers set up by her press corps but she came across as a confident, relaxed, and skilled interviewee and a gracious person with a palpable passion for music.  Listening to this latest release and having a more than passing interest in this fine musician it is a joy to see her getting recognition.

Originally from the Midwest, Isbin actually began her studies in Italy where her nuclear scientist father was working as a consultant.  Her studies in Varese, Italy began at age 9 with Aldo Minella.  She also counts among her teachers Andre Segovia, Alirio Diaz, and Oscar Ghiglia among her many teachers.

Most curiously she spent time studying Bach with none other than pianist Rosalyn Tureck during the time she was working on her landmark recording of the Bach Lute Suites.  Isbin stated, “I don’t play piano and Tureck doesn’t play guitar but I wanted her insights into the preparation of this music.”  Apparently this collaborative scholarship resulted in the publication (by G. Schirmer) of two of these suites originally written for lute.

As an academic, Isbin is all about research, fact checking, and collaboration and this clearly pays off as listeners will be delighted to find.  But she is also the founder of the Guitar Department at the venerable Julliard School, a department which this year celebrates 30 years hosting students from 20 countries and, this year, establishing a DMA in guitar performance.  Her first graduate, Australian guitarist Alberta Khoury, is the first recipient of this degree.

Asked about being THE musician to start the guitar department at Julliard she related that Segovia had proposed the idea some years ago and was rejected but that she was actually asked to start the department.  An example, perhaps, of the student transcending the teacher.

Isbin plays a great deal of guitar music but, unlike many in her field, she has shown interest and devotion to music of our time as well.  In fact she estimates having at least 80 scores and arrangements either commissioned by her or dedicated to her.  It was with her recording “American Landscapes” featuring concerti commissioned from Lukas Foss, John Corigliano, and Tan Dun that first brought this artist to this reviewer’s attention.  She is the recipient of three Grammys (and this album may very well earn her a fourth).

Regarding the present release, Isbin spoke of the process of preparation involved with this music.  The Pacifica Quartet had been in residence at the University of Chicago and this was the connection (Cedille is a Chicago based, Chicago friendly label) that allowed her collaboration to appear of this fine record label.

She also spoke of the serendipitous discovery of finding that the composer’s granddaughter, Diana Castelnuovo-Tedesco, actually lived near her in New York.  They began discussions and Isbin was able to view and work directly with the manuscript of the Quintet which opens the disc.  Asked about the fact that this very quintet had been recorded about a year ago by Jason Vieaux, Isbin replied that it was pure coincidence but that this piece was considered by the composer to be his finest work of chamber music.

The Italian composer, Mario Castelnuovo-Tedesco (1895-1968) was born in Italy but was forced to flee the Nazis and was able, with the sponsorship of Jascha Heifetz (then a recently minted citizen himself), to come to the United States in 1939 just before the outbreak of WWII.  In fact, his family suffered a similar indignity in 1492 when they were forced from their native Spain when the Alhambra Edict forced the expulsion of Jews from the country.  The composer’s curious hyphenated name, according to Isbin, resulted when a dying friend who had no progeny asked that the composer somehow incorporate his name.  This is both sweetly romantic and evocative of the sensitivities of the man himself.

The Guitar Quintet Op. 143 (1950) is a grand romantic and virtuosic work that deserves to be heard.  It is difficult to imagine an audience not being thrilled by this music.  It is cast in four movements like a classical work (allegro, andante, scherzo, finale).  From the beginning the listener is carried along by beautiful melodies and clever collaborations between the strings and the guitar.  Isbin related that superscriptions on the score saying, “Souvenir of Spain” gave the idea for the title of this album.

This is followed by one of the most recognizable guitar concertos, the Concerto in D Major for guitar and strings by Antonio Vivaldi written about 1730.  The original is written for lute and Isbin uses an edition for guitar by Emilio Pujol with gorgeous ornamentation consistent with late baroque practice added by the present performer.  This performance is with guitar, violin, viola, and cello (no second violin) but manages to make a big sound.  This work is a personal favorite and, unlike the other works on the album, extremely well known and loved by this reviewer.  My baseline favorite recording of this piece will probably always be Julian Bream’s performance on this RCA recording but Isbin’s scholarship provides a fascinating perspective on this work.  So basically I now have two favorite recordings.

Next up is the only piece on the album where the Pacifica Quartet plays without guitar.  Joaquin Turina (1882-1949) is more or less a contemporary of Castelnuovo-Tedesco.  Offered here is Oración del Torero Op. 34 (1925).  Curiously this work was written originally for four lutes or string quartet.  Only the quartet version seems to get much play though the lute version might be interesting as well.  This work, which translates into English as “Bullfighter’s Prayer” is essentially a miniature tone poem whose drama takes on almost cinematic dimensions in its just over 7 minutes.  The Pacifica Quartet does a potent job of delivering an engaging performance.  The Pacifica consists of Simin Ganatra, first violin; Austin Hartman, second violin; Mark Holloway, viola; and Brandon Vamos, cello.  They are based at Indiana University.

Last and certainly not least is another major Quintet by an Italian composer, Luigi Boccherini (1743-1805).  His dates make him a contemporary of Mozart and Haydn, though he was born in Italy, many of his productive years were spent in Spain where he enjoyed royal patronage.  He was a prolific composer who has experienced a significant interest in the 20th century.

He wrote no less than 9 Quintets for guitar and string quartet and this one, in D Major G. 448 dates from about 1798 and is the best known of his works for this combination.  It has the rather unusual attribute of having a percussionist (one Eduardo Leandro) improvise on castanets and tambourine in the last movement, fandango.

The work is cast in three movements (pastorale, allegro, grave assai-fandango) and will remind the listener of Haydn, Mozart, and/or early Beethoven.  The music is both familiar and very entertaining.  The castanets do not appear to be included in the original score and one can find recordings without them but they really rock that last movement.

This is another triumph for Ms. Isbin and a feather in the caps of the Pacifica Quartet.  It is sonically spectacular album as well having employed the producer/engineer team of Judith Sherman and Bill Maylone.  They achieve a lucid and warm sound field with an appropriately dry resonance that makes for an intimate listening experience which reveals the details the musicians coax from the score.  Get this one, you’ll play it often.