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  Artistic Quality 10/10 Sound Quality "With Barton's serious musical statement in the first movement, her alternation of stentorian rhetoric with wistful filigree in the second, and her sparkling off-the-string brilliance in the third, hers must be the version of choice for those who care about the [Joachim Concerto]… Rachel Barton has holistically realized the [Brahms Concerto's] potential: She's muscular in the angular passages and whisperingly intimate in the lyrical ones - and makes transitions from one musical personality to the other without jarring the listener. The performance's hormones remain perfectly in balance, creating an overwhelming impression of integrity… Remaining faithful to the movement's thematic material and integrating violinistic display thoroughly into these motives, [Barton's cadenza] recommends itself equally on the basis of purely musical and of purely instrumental values. With the best (and what seems destined to remain the best) complete
version of Joachim's concerto, with a monumental performance of
the Brahms concerto, with an intriguing new cadenza for that concerto,
with the strong connections between the concertos themselves and
between the repertoire and the violin upon which Barton's performed
it, and finally with stunning recorded sound, Cedille's two CDs
deserve an urgent recommendation for their extraordinary merit and
equally extraordinary appeal. It's clear that Rachel Barton and
everyone at Cedille cares deeply about what they do." Critics’ Choice – Discs of the Year "Outstanding playing from the soloist in an intriguing coupling
of Brahms and Joachim… Rachel Barton is a magnetically imaginative
artist, spontaneously expressive in her rubato, who makes every
phrase sound fresh. Technically, too, she shows complete mastery…
In the Joachim Concerto - even longer than the Brahms - Barton is
just as compelling, fiery in the bravura passages, tenderly expressive
in the many lyrical moments, with the Hungarian flavour idiomatically
brought out in her shaping of phrases and pointing of rhythm." "The Joachim Violin Concerto No. 2 in D minor, "In the
Hungarian Style," is a gem of a piece, and the young violinist
Rachel Barton is a gem of a player… Brahms and Joachim share
some stylistic traits that are obvious even in the first few measures
of the "Hungarian" concerto. But there's also a marvelous
Dvorakesque quality to Joachim's melodies and orchestrations…Barton's
way with the Brahms is sturdy and elegant in all the right places." "Barton is so splendidly on top of the [Joachim Concerto's]
formidable technical difficulties, so deeply into its tuneful romantic
sentiment, that you have to love the concerto along with her…
Barton turns in a performance [of the Brahms Concerto] of comparable
expressive feeling and musical poise (she also contributes her own
long, convincing cadenza for the first movement, separately tracked
so you can sub it for Joachim's, and vice versa)… a genuine
discovery, made all the more attractive by the excellent recording." A fascinating pairing of two complementary works … Joachim's concerto is fairly bursting with great tunes, with echoes of Beethoven, and, somewhat jarringly, pre-echoes of Brahms' own concerto to come. Soloist Rachel Barton is at her finest here, phrasing with tonal sensitivity and subtle expression. Throughout, Barton communicates the melodic charm and lyrical impetus of this music with great feeling. The rousing finale goes like the wind in her agile fingers, with an exhilarating pedal-to-the-metal coda. Competition is much stiffer in the more familiar Brahms concerto
but Barton's spacious reading is just as impressive and can more
than hold its own with her most celebrated rivals. Performing on
the "ex-Soldat" Guarneri, which has connections to Brahms'
inner circle, Barton is alive to the concerto's restless drama as
well as the nostalgic lyricism, playing with a pure refined glow.
Under Kalmar's direction, the CSO is supple and responsive, and
the refined recording has great presence, with the soloist naturally
balanced. Barton contributes intelligent notes and provides a bonus
with her own clever cadenza for the Brahms concerto, which can be
programmed in place of the standard Joachim. Offered at two discs
for the price of one, these excellent, historically significant
performances are a bargain as well. While Joachim essentially looks backward to the late-Classical
models, Brahms charts entirely new grounds in form and substance.
What a difference two decades makes. Particularly in the two finales,
Barton makes them appear to be two sides of the same coin. Her performances
in these works are so memorable... Barton brings a breath of freshness
as soon as she enters. From there, making connections between the
two pieces seems relatively easy. Barton's essential musicianship
hardly alters between the two, revealing a similar sense of phrasing
and characteristic bite in the sound during the fast virtuosic passages
balanced by true melodic freedom in slower, lyrical portions. "Without wanting to sound sexist, if I hadn't known [Rachel
Barton] was a woman, I might have guessed otherwise, for her tone
is dark and firm (she plays the ex-Soldat Guarneri del Gesu) and
her musicianship authoritative. This is great in the Brahms where,
accompanied by Carlos Kalmar and the Chicago Symphony, she gives
a big-boned, majestic, triumphant performance. The concerto by Joseph
Joachim (who played the Brahms premiere in 1879) is given authentic
gypsy flavor by Barton… it's instructive to have them together
on discs in such persuasive performances." "Barton evinces clarity, rhythmic life and a serene sense
of lyrical line. The Brahms is noble and the Joachim, fresher to
the ears, is a charmer. The written notes are by Barton, who is
clearly as intelligent a commentator as she is a virtuoso." "These are attractive recordings, thoughtful in concept as
well as execution… [Kalmar and Barton] make a persuasive case
for Joachim's concerto, emphasizing its sophisticated Hungarian
flavor and fluid writing for solo violin. Barton's detailed liner
notes are illuminating, and she combines effortless virtuosity and
understated lyricism in both concertos."
Two of the most demanding violin concertos, an imaginative coupling
… Joachim's concerto is a dazzling, dramatic and one of the
longest concertos for the instrument. It has been called by some
the most difficult work in the violinists' repertory. It is surprising
that major violinists of the past haven't championed it … Rachel
Barton's performances of both works are elegant, technically secure
and beautiful in tone. Needless to say, the Chicago Symphony offers
superb support under Carlos Kalmar … Cedille is to be commended
for this issue, which offers splendid performances of two major
concertos, two CDs for the price of one. Highly Recommended! Joachim takes first billing with … Barton's dazzling entry,
full of double stopping and bringing home the full passion behind
the music. She's clearly done her research on this work, and applies
a flawless technique. … It's very interesting to hear the Brahms
in this particular context, and as a bonus Rachel Barton ends the
first movement with her own showy cadenza as an alternative to Joachim's.
… The finale zips along with plenty of verve, Brahms's Hungarian
connections all the more telling off the back of the Joachim piece.
This is a fascinating juxtaposition of works by two friends. Our blindfolded audience would surely take Joseph Joachim's seldom
heard Violin Concerto No. 2 in D minor, ``In the Hungarian Style,''
for a long-lost concerto by Brahms, and certainly enjoy it as such.
… A big, deep-thinking and spacious first movement gives way
to a pretty, tender, slow movement and Gypsy-style finale that has
some wildness to it. Barton gives the work a sturdy performance,
vibrant in tone and vibrato, technically assured and confidently
phrased. … Her co-conspirators are no less than the Chicago
Symphony and Carlos Kalmer, who give her resonant, sensitive support,
warmly yet clearly recorded in Orchestra Hall. At first thought you may ask yourself, "Why another recording
of the Brahms Violin Concerto?" Then, you listen to Rachel
Barton's passionate interpretation of one of the romantic era's
greatest compositions for violin and orchestra, and the answer is
obvious: a performance as good as this deserves to be preserved
for posterity. “Barton brings a performance of great passion and virtuosity
… This recording, featuring a Chicago soloist, orchestra and
record label, has received widespread praise throughout the world,
and rightfully so.”
“Barton's Brahms interpretation is both energetic and elegant.
… Barton's playing is refreshingly individual and thus unique.
It is clear that she doesn't want to belong to schools or follow
trends but seeks a voice of her own. The less well-known Joachim
concerto offers a good opportunity to demonstrate her individual
approach; its spirited and temperamental performance is most promising."
“Barton’s enthusiasm for these concertos is unmistakable
… Her performances are gorgeous, almost reverential.” |
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Read Press Release
(out
of 4) "In a lengthy essay, Barton traces the close musical
partnership between Brahms and Joachim, the violinist who introduced
his friend's violin concerto. She proves to be a compelling advocate
for both concertos. Barton produces a glowing, lustrous tone and
plays with unfailing taste. She receives optimal support from Carlos
Kalmar and the Chicago Symphony in this well-engineered release."
(out of 5)
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