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Capricho Latino / Rachel Barton Pine


Release Date: 06/28/2011 
Label:  Cedille Records   Catalog #: 124   Spars Code: n/a 
Composer:  Roque CorderoCesar EspejoManuel QuirogaEugène Ysaÿe,   ... 
Performer:  Rachel Barton PineHéctor Elizondo
Number of Discs: 1 
Recorded in: Stereo 
Length: 1 Hours 20 Mins. 

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Notes and Editorial Reviews

From start to finish, I was absolutely mesmerized by this CD. There isn’t a really weak link among the 14 pieces, and Barton Pine’s prowess as a violinist has, I think, never been more boldly or excitingly displayed.

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CAPRICHO LATINO Rachel Barton Pine (vn); 1 Héctor Elizondo (narr) ÇEDILLE 125 (79:41)


Read more class="COMPOSER12">ALBÉNIZ Asturias (Leyenda). CORDERO Rapsodia Panameña. TRADITIONAL Balada Española. ESPÉJO Prélude Ibérique. QUIROGA Emigrantes Celtas. Terra!! Á Nosa!! YSAŸE Sonata No. 6. GONZÁLEZ Epitalamio Tanguero. J. WHITE Etude No. 6. TARREGA Recuerdos de la Alhambra. RODRIGO Capriccio. SEREBRIER Aires de Tango. PIAZZOLLA Tango Etude No. 3 con Libertango. 1 RIDOUT Ferdinand the Bull


I was at a bit of a disadvantage in reviewing this CD as the promo copy I received had track listings by the composers’ last names but no identifiers of the works or composers’ first names and dates. Of course, I knew who Albéniz, Ysaÿe, Rodrigo, Serebrier, and Piazzolla were, but the only two pieces I recognized by ear were the Albéniz Asturias and Rodrigo’s Capriccio (though I’d forgotten the title of the latter). A few days later I received a full track listing but no liner notes, yet I noticed that the Serebrier piece was dedicated to Rachel Barton Pine, and the González to both Rachel and her husband, Greg.


Despite the confusion, I enjoyed the CD immensely. Judging from her other CDs I’ve listened to after this (Handel sonatas, Instrument of the Devil, and Violin Concertos by Black Composers ), Barton Pine’s style tends more toward the lyric than the dramatic, but her playing here is very dramatic indeed, with sharp attacks, cleanly articulated pizzicato, and impeccable turns. One thing that surprised me was the rich, dark quality of her tone, almost viola-like in places. I would describe it (not negatively) as a “junior Oistrakh.” Every note in her range has a full, rich sound at every dynamic level and, aside from those moments when she is purposely vehement, her bowing is never rough.


Despite the extreme challenges of doing an entire CD unaccompanied, Barton Pine never lets up in creating a rhythmic underpinning for herself. I assume that Roque Cordero’s Rapsodia Panameña is based on different folk music and rhythms than the Panamanian music that reached our shores in the early 20th century, as those were essentially in habanera rhythm and this piece is not. Of course, since Cordero was a late 20th-century composer, the language has elements of bitonality throughout, and there are very quick changes from short but intense lyrical passages to rhythmic outbursts and back, but the piece holds together very well indeed. Jesus Florido’s arrangement of a traditional Spanish ballad consists of almost continual contrapuntal 16ths in which the violinist must emphasize the melody without sacrificing cleanliness of attack. César Espéjo’s Prélude Ibérique, written for Szeryng, has a very similar style though the tonal base is less spiky, and there is a long passage in 16ths that is exciting but more in the nature of a continuous melody than rhythmic accompaniment.


Manuel Quiroga, also known as Quiroga Losada, is the only composer represented by more than one work: a passionate lament in C Minor ( Emigrantes Celtas ), punctuated by short, staccato stabs; and a fiery, rhythmic piece in Terra!! Á Nosa!! which, at times, resembles a Celtic tune in melody and construction. The Ysaÿe sonata—dedicated to Quiroga Losada—has a strong Andalusian flavor. Typically of Ysaÿe, the music is more passionate and evocative of mood than an academic theme-and-devlopment. Later passages of this sonata, using a rhythmic underpinning to the melody, show his knowledge of the unaccompanied partitas of Bach. Compared with this dense piece, the etude by José White sounds almost jolly and simplistic, even repetitive, but nonetheless pleasing. The Serebrier Aires de Tango is really something, feeding into Barton Pine’s reputation for having one of the best staccato techniques on earth, but if anything her transcription of Piazzolla’s Tango Etude is even wilder, and in fact practically steals the show. Those who remember the Disney version of Ferdinand, the Bull with the Delicate Ego will not necessarily like all of Alan Rideout’s more modern version, but it’s a very amusing piece. Héctor Elizondo has a somewhat hoarse speaking voice, but is an interesting and whimsical narrator.


Bottom line: From start to finish, I was absolutely mesmerized by this CD. There isn’t a really weak link among the 14 pieces, and Barton Pine’s prowess as a violinist has, I think, never been more boldly or excitingly displayed.


FANFARE: Lynn René Bayley
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Works on This Recording

1. Rapsodia Panameña, for solo violin by Roque Cordero
Performer:  Rachel Barton Pine (Violin)
Period: Contemporary 
Length: 9 Minutes 19 Secs. 
2. Prélude Ibérique, for solo violin by Cesar Espejo
Performer:  Rachel Barton Pine (Violin)
Period: Modern 
Length: 4 Minutes 48 Secs. 
3. Emigrantes Celtas by Manuel Quiroga
Performer:  Rachel Barton Pine (Violin)
Period: Modern 
Length: 3 Minutes 14 Secs. 
4. Terra!! A Nosa!!, for solo violin by Manuel Quiroga
Performer:  Rachel Barton Pine (Violin)
Period: Modern 
Length: 2 Minutes 15 Secs. 
5. Sonatas (6) for Violin solo, Op. 27: no 6 in E major by Eugène Ysaÿe
Performer:  Rachel Barton Pine (Violin)
Period: Romantic 
Written: by 1924; Belgium 
Length: 6 Minutes 39 Secs. 
6. Epitalamio Tanguero, for solo violin by Luis Jorge Gonzalez
Performer:  Rachel Barton Pine (Violin)
Period: Contemporary 
Length: 5 Minutes 53 Secs. 
7. Etude No. 6 for solo violin by José White
Performer:  Rachel Barton Pine (Violin)
Period: Post-Romantic 
Length: 5 Minutes 15 Secs. 
8. Recuerdos de la Alhambra by Francisco Tarrega
Performer:  Rachel Barton Pine (Violin)
Period: Romantic 
Written: circa 1880-1905; Spain 
Length: 3 Minutes 52 Secs. 
9. Capriccio for Violin solo by Joaquin Rodrigo
Performer:  Rachel Barton Pine (Violin)
Period: 20th Century 
Written: 1944; Spain 
Length: 6 Minutes 22 Secs. 
10. Aires de Tango, for solo violin by José Serebrier
Performer:  Rachel Barton Pine (Violin)
Period: Contemporary 
Length: 8 Minutes 23 Secs. 
11. Work(s): Tango Etude No. 3 con Libertango by Astor Piazzolla
Performer:  Rachel Barton Pine (Violin)
Period: Modern 
Length: 4 Minutes 26 Secs. 
12. Ferdinand the Bull by Alan Ridout
Performer:  Rachel Barton Pine (Violin), Héctor Elizondo (Spoken Vocals)
Period: 20th Century 
Written: England 
Length: 10 Minutes 46 Secs. 
13. Balada Española (Romance) by Traditional
Performer:  Rachel Barton Pine (Violin)
Length: 2 Minutes 14 Secs. 
14. Cantos de España, Op. 232: no 1, Preludio [Asturias, Op. 47 no 5] by Isaac Albeniz
Performer:  Rachel Barton Pine (Violin)
Period: Romantic 
Written: 1896; Paris, France 
Length: 6 Minutes 7 Secs. 

Sound Samples

Suite espanola No. 1, Op. 47: V. Asturias (Leyenda) (arr. R.B. Pine)
Rapsodia panamena
Balada espanola (arr. J. Florido)
Prelude Iberique
Emigrantes celtas
Terra! A nosa!
Violin Sonata in E major, Op. 27, No. 6: Violin Sonata No. 6 in E major, Op. 27, No. 6
Epitalamio tanguero
Etude No. 6
Recuerdos de la Alhambra (arr. R. Ricci)
Cappriccio: I. Presto
Aires de tango
Tango-Etude No. 3 (arr. R.B. Pines)
Ferdinand

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