Capricho Latino

Editorial Reviews

All Music Guide
Any album of solo instrumental music subjects itself to a higher degree of vulnerability, for the artist must stand alone on his/her performance for the duration of the CD. Rachel Barton Pine succeeds brilliantly on these pieces for the solo violin and narrator, as with "Ferdinand the Bull", most of which have a Latin flavor. Barton's assured, solid technique, and strong musicianship carry her through the whole album. The "Prélude Ibérique" is one such example, which is full of fire and passion, an absolute joy to hear. Her liquid, fluid, lyrical style sometimes reminiscent of Perlman or Shaham is evident in pieces such as "Emigrantes Celtas," where one can clearly hear her playing very much into the string with the ...
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Editorial Reviews

All Music Guide
Any album of solo instrumental music subjects itself to a higher degree of vulnerability, for the artist must stand alone on his/her performance for the duration of the CD. Rachel Barton Pine succeeds brilliantly on these pieces for the solo violin and narrator, as with "Ferdinand the Bull", most of which have a Latin flavor. Barton's assured, solid technique, and strong musicianship carry her through the whole album. The "Prélude Ibérique" is one such example, which is full of fire and passion, an absolute joy to hear. Her liquid, fluid, lyrical style sometimes reminiscent of Perlman or Shaham is evident in pieces such as "Emigrantes Celtas," where one can clearly hear her playing very much into the string with the right hand, and sustaining confident vibrato in the left hand. In "Terra!!" the violin becomes almost two instruments, with each musical line conveying complex rhythms, but this does not seem to deter the violinist, who plays through it with great poise. "Sonata No. 6" shows Barton's very assured, romantic side, which also features exciting accelerandi after a tango. Spanish guitar aficionados will certainly recognize "Recuerdos" and "Asturias," though the arrangements of these pieces are perhaps a bit odd for the violin certainly no fault of the artist. However, in the latter piece, Barton is slightly off tune here and there, and her confidence seems to develop through the piece after a slightly weak beginning. Similarly, in the "Rapsodía Panameña," a long sustained note gets slightly off key, but one can overlook this small flaw as she is able to bring out the expression in this enjoyably dissonant piece. One can hear her appropriately aggressive bow attacks through the high-quality recording, which is not overly bright, but clean enough to hear her precise string crossings. The Piazzolla is simply fabulous: she captures the percussive rhythms as well as the legato melody, and does it with such excellent style that one does not notice the high level of skill underlying this piece. The final work on the album, "Ferdinand the Bull," adds a note of whimsy to this hardcore classical gem; the dialogue between violinist and Héctor Elizondo is done well, and perhaps makes this album more appealing to young listeners. Overall, this is an excellent album in terms of musicianship as well as repertoire chosen. ~ V. Vasan
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Product Details

  • Release Date: 6/28/2011
  • Label: Cedille
  • UPC: 735131912426
  • Catalog Number: 124
  • Sales rank: 384,064

Tracks

Disc 1
  1. 1 Asturias, prélude espagnol - Isaac Albéniz & Rachel Barton Pine (6:07)
  2. 2 Sonata for violin solo No. 6, Op. 27/6 - Eugène Ysaÿe & Rachel Barton Pine (6:39)
  3. 3 Recuerdos de la Alhambra, for guitar - Francisco Tárrega & Ruggiero Ricci (3:52)
  4. 4 Capriccio for violin - Joaquín Rodrigo & Rachel Barton Pine (6:22)
  5. 5 Work(s): Tango Etude No. 3 con Libertango - Astor Piazzolla & Rachel Barton Pine (4:26)
  6. 6 Ferdinand the Bull, for speaker & violin - Alan Ridout & Rachel Barton Pine (10:46)
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Album Credits

Performance Credits
Rachel Barton Pine Primary Artist
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