This recording is dedicated to the memory of my father, “Korie” Koornhof (1928-2003), who dearly loved the violin, and whose unwavering aesthetic sensibility was a constant inspiration. —Piet Koornhof
Of course, a great deal of the violin’s charm and power to move listeners stems from its lyrical qualities. Like the human voice, it can convey the intensity and subtleties of emotion by the quality of its singing.
Having always been more enamoured by the instrument’s lyrical character than its virtuosic possibilities, I decided to create a CD program that focuses on the lyrical and nostalgic, and to call it Remembrances, after John Williams’s hauntingly beautiful theme from his celebrated film score Schindler’s List.
Another characteristic of the present compilation is that it largely stems from the twentieth century, proving, hopefully and contrary to prevailing perception, that a great deal of music written in that tumultuous century is rooted in a traditional and accessible style.
As can be expected of music in a familiar style, most of it needs no explanation – it speaks for itself. So, instead of verbal descriptions of the music, here follow brief notes about the composers and a little background information about some of the pieces.
Vocalise (song without words, here transcribed by Michael Press) by Russian composer Sergei Rachmaninoff (1873-1943) is ideally suited to string instruments, and as such has become a favorite of many performers on the violin, viola and cello. Several of his songs, including Marguerite, have found their way into the violin repertoire via beautiful transcriptions by famous violinists Kreisler and Heifetz.
American composer Paul Schoenfield (b.1947) is particularly successful in integrating popular and classical idioms. The Tango presented here is from his set of pieces for violin and piano called Four Souvenirs.
John Williams (b.1932), already mentioned, is celebrated for his many highly successful Hollywood film scores, ranging from Star Wars to Schindler’s List. The Three Pieces from Schindler’s List on this disc are the composer’s own arrangements for violin and piano.
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The Graceful Ghost rag by yet another American composer, Pulitzer prize-winner William Bolcom (b.1938), is from his dance suite Afternoon Cake Walk, originally for violin, clarinet and piano.
Belgian violin virtuoso and composer Eugene Ysaÿe (1858–1931) reportedly composed his Rêve d’Enfant for his ailing infant son while on a concert tour abroad. Fortunately, the boy recovered, and today we have this touching reminder of a father’s deep affection for his son.
The music of British composer Cyril Scott (1879-1970) can be described as romantic with a touch of impressionism. He wrote many miniatures for different instruments, of which the Elégie and the Romance for his friend Paul Stroeving are beautiful examples.
Austrian violinist and composer Fritz Kreisler (1875-1962) is much loved for his gorgeously lyrical and influential style of playing and his nostalgic ditties like Liebesleid and Liebesfreud. Less known is his somewhat more serious Romance, reminiscent of the late romanticism of Gustav Mahler and Richard Strauss.
Russian composer Reinhold Glière (1875-1956) was an excellent craftsman in the romantic style. Special mention should be made of his idiomatic writing for the voice and for string instruments, of which the touching Folk Song from Eight Easy Pieces for violin and piano is a good example.
Tchaikovsky (1840-1893) surely needs no introduction, and neither does the Andante Cantabile from his String Quartet, Op. 11. The transcription rendered here is by Fritz Kreisler.
Serge Prokofiev (1891-1953), another illustrious Russian composer of the twentieth century, also wrote some very effective film music. The Aria, transcribed for violin and piano by Joseph Gingold, is from the score for Eisenstein’s famous film, Alexander Nevsky.
Hungarian composer, Zoltán Kodály (1882-1967), compatriot and colleague of Béla Bartók, is well-known for his contributions to music education and the study of Eastern European folk music. Steeped in romanticism, his early Adagio for violin (or cello or viola) and piano explores the full range of the instrument’s lyrical qualities.
Argentinian composer Astor Piazzolla (1921-1992) successfully dressed up the native tango for the formal concert stage. Oblivion, here adapted for violin and piano, is filled with bittersweet nostalgia and longing.
Liner Notes
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