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RAChEl BARTON PINE, VIOlIN with The Chamber Soloists Orchestra of New York Emily Popham Gillins, violin Miki-Sophia Cloud, violin Michael Dabroski, violin April Johnson, violin Veronique Mathieu, violin Linda Quan, violin DeAnn Letourneau, violin Ynez Lynch, viola PROGRAM Wolfgang Amadeus Mozart (1756–91) Cadenzas by Rachel Barton Pine Concerto No. 4 for violin and orchestra in D Major, K. 218 Allegro-Sonata Form Andante cantabile Rondo (Andante grazioso - Allegro ma non troppo) Concerto No. 1 for violin and orchestra in B-flat Major, K. 207 Allegro Adagio Rondo Concerto No. 3 for violin and orchestra in G Major, K. 216 Allegro Adagio Rondo Intermission Jack Rosenberg, viola Adam Grabois, cello Peter Seidenberg, cello Kurt Muroki, bass Melvin Kaplan, oboe Marc Schachman, oboe Sharon Moe, horn Ian Donald, horn Concerto No. 2 for violin and orchestra in D Major, K. 211 Allegro moderato Andante Rondo, Allegro Concerto No. 5 for violin and orchestra in A Major, K. 219 Allegro Aperto - Adagio - Allegro Aperto Adagio Rondo - Tempo di Minuetto Printed on recycled paper. Please recycle this playbill for reuse. MONDAVI CENTER PROGRAM Issue 5: Feb 2012 | 5 RAChEl BARTON PINE, VIOlIN
FuRThER lISTENING RAChEl BARTON PINE, VIOlIN by jEFF huDSON There are plenty of rockers who, at a certain age, try their hand at classical music. Paul McCartney has written choral works and a ballet score. Elvis Costello made an album with the Brodsky String Quartet. There’s a related urge among classical musicians. I once saw conductor Michael Tilson Thomas sit down at a piano and jam with former members of the Grateful Dead at Davies Hall in San Francisco. But violinist Rachel Barton Pine, whose career as a classical recording artist was launched in 1994, has taken the next step, gotten dressed up in black leather with metal studs and released an entire album (Dismal Times) with doom metal band Earthen Grave. She plays screaming fast passages on electric violin (one of Mark Wood’s “Viper” instruments). Tracks include “Burning a Sinner,” “Relentless” and “Death on the High Seas.” This wasn’t entirely a bolt from the blue. Recall that in 1997, Pine’s album Stringendo: Storming the Citadel mixed covers of tunes by AC/DC, Megadeth and Black Sabbath with Paganini’s 24th Caprice and a scorching arrangement of Handel’s “Passacaglia.” In 1998, Pine dressed up in black and held a flaming violin on the cover of her (classical) album Instrument of the Devil, which featured fire-breathing violin showpieces (with infernal implications) like Tartini’s “Devil’s Trill” Sonata, Paganini’s “The Witches,” “Mephisto Waltz” and more. 6 | mondaviarts.org Jeff Hudson contributes coverage of the performing arts to Capital Public Radio, the Davis Enterprise and Sacramento News and Review. She’s also gone in big time for sweet, rich, mainstream Romantic-era music for the violin, including this year’s recording of the Glazunov Violin Concerto (with the Russian National Orchestra, conducted by José Serebrier), an album of short works by Pablo de Sarasate, the Bruch Scottish Fantasy, a disc of chamber works by Liszt, etc. She’s also a Baroque music performer, having recorded an album of Handel sonatas (accompanied by cello and harpsichord) and two albums of German music (including Bach, Buxtehude and Biber). She’s also released a very interesting disc of violin concertos by black composers of the 18th and 19th centuries, including Chevalier de Saint-Georges (a prominent musician and dashing swordsman in Paris during the late 1700s). In summer 2010, Pine did the trifecta in a threepart concert. The first set featured Baroque music on period instruments with Trio Settecento; the second set paired her with an orchestra for the flashy Tchaikovsky Violin Concerto; the third set featured her on electric violin with Earthen Grave. Rachel Barton Pine has also written (and published) her own cadenzas for several well-known concertos, including the violin concertos of Mozart.
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