Information
- (01) David N. Baker - Blues (Deliver My Soul)
- (02) Coleridge-Taylor Perkinson - Blue/s Forms for solo violin
- (05) Coleridge-Taylor Perkinson - Louisiana Blues Strut (A Cakewalk) for solo violin
- (06) William Grant Still - Suite for Violin and Piano
- (09) Noel DaCosta - A Set of Dance Tunes for Solo Violin
- (14) Clarence Cameron White - Levee Dance
- (15) Duke Ellington - In a Sentimental Mood (arr. Wendell Logan)
- (16) Dolores White - Blues Dialogues for solo violin
- (20) Errollyn Wallen - Woogie Boogie
- (21) Billy Childs - Incident on Larpenteur Avenue
- (22) Daniel Bernard Roumain - Filter for Unaccompanied Violin
- (23) Charles Brown - A Song Without Words
Rachel Barton Pine, violin
Matthew Hagle, piano
Date: 2018
Label: Cedille
https://www.cedillerecords.org/albums/blues-dialogues-music-by-black-composers/
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What a fascinating, beautiful disc. Rachel Barton Pine has borrowed the name from the four Blues Dialogues for unaccompanied violin by Dolores White. Around them, she’s drawn on a two-decade fascination with music by black composers to assemble a remarkably varied and rewarding recital linked by the unifying idea of the Blues. And if that idea initially suggests a formula – or (gulp!) crossover – that impression is quickly dispelled.
William Grant Still’s Suite evokes Brahmsian romanticism, Dolores White quotes Bartók, and Daniel Bernard Roumain’s Filter moves from Jimi Hendrix-inspired tonal distortion to a brilliant moto perpetuo derived from electronic dance music. Billy Childs’s Incident on Larpenteur Avenue – commissioned by Pine for this collection – unfolds a story of racial injustice with the same economy of means, and sublimated pain, as Janáček’s Piano Sonata. The disc’s title is valid: these really are ‘dialogues’ in the most creative and stimulating sense.
Need it be said that Pine plays everything here gloriously – from the gleaming virtuoso dazzle of David Baker’s opening Blues (Deliver My Soul) to the full-throated lower-string tone and caressing portamentos that she brings to Clarence Cameron White’s 1927 Levee Dance. Listen to how unaffectedly she outlines the melody of Still’s central slow movement; enjoy the thunder with which pianist Matthew Hagle launches Wendell Logan’s Duke Ellington transcription, and the Aeolian-harp tones with which Pine finally makes that glorious melody dissolve. In passages of virtuoso display, she’s as sure-footed and as agile as an acrobat.
You might be sceptical about the capacity of instrumental music to convey a socio-political message, and that’s your prerogative (though the booklet notes are excellent, and very comprehensive). This is a deeply rewarding disc regardless.
-- Richard Bratby, Gramophone
More reviews:
http://www.musicweb-international.com/classrev/2019/Jan/Blues_dialogues_CDR90000182.htm
https://www.limelightmagazine.com.au/reviews/blues-dialogues-rachel-barton-pine-matthew-hagle/
https://www.staccatofy.com/classical/rachel-barton-pine-blues-dialogues-review/
https://www.amazon.com/Blues-Dialogues-Music-Black-Composers/dp/B07GW4CM6P
William Grant Still’s Suite evokes Brahmsian romanticism, Dolores White quotes Bartók, and Daniel Bernard Roumain’s Filter moves from Jimi Hendrix-inspired tonal distortion to a brilliant moto perpetuo derived from electronic dance music. Billy Childs’s Incident on Larpenteur Avenue – commissioned by Pine for this collection – unfolds a story of racial injustice with the same economy of means, and sublimated pain, as Janáček’s Piano Sonata. The disc’s title is valid: these really are ‘dialogues’ in the most creative and stimulating sense.
Need it be said that Pine plays everything here gloriously – from the gleaming virtuoso dazzle of David Baker’s opening Blues (Deliver My Soul) to the full-throated lower-string tone and caressing portamentos that she brings to Clarence Cameron White’s 1927 Levee Dance. Listen to how unaffectedly she outlines the melody of Still’s central slow movement; enjoy the thunder with which pianist Matthew Hagle launches Wendell Logan’s Duke Ellington transcription, and the Aeolian-harp tones with which Pine finally makes that glorious melody dissolve. In passages of virtuoso display, she’s as sure-footed and as agile as an acrobat.
You might be sceptical about the capacity of instrumental music to convey a socio-political message, and that’s your prerogative (though the booklet notes are excellent, and very comprehensive). This is a deeply rewarding disc regardless.
-- Richard Bratby, Gramophone
More reviews:
http://www.musicweb-international.com/classrev/2019/Jan/Blues_dialogues_CDR90000182.htm
https://www.limelightmagazine.com.au/reviews/blues-dialogues-rachel-barton-pine-matthew-hagle/
https://www.staccatofy.com/classical/rachel-barton-pine-blues-dialogues-review/
https://www.amazon.com/Blues-Dialogues-Music-Black-Composers/dp/B07GW4CM6P
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Rachel Barton Pine (born October 11, 1974 in Chicago, Illinois) is an American violinist. Her principal teachers were Roland and Almita Vamos of the Music Institute of Chicago. Barton debuted with the Chicago Symphony at the age of 10 and attained notable success in a number of violin competitions. She tours worldwide as a soloist with prestigious orchestras and renowned conductors, has an active recording career. Barton has recorded for Cedille, Dorian, Warner, Avie, Hyperion, Hänssler and Naxos. Her musical interests extend well beyond classical to baroque, folk, Celtic, rock, and jazz.
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