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William NeilRhapsody for Violin and Orchestra
In ancient Greece a “rhapsod” was a singer of epic poems and bits and pieces of tales strung together making a collage of entertainment. I have, in a like manner, allowed a simple line of melody, first introduced by the violin, to speak a musical tale. The violin, full of exuberance and the energy of youth, threads through the story's themes and shadow themes, weaving a mosaic of sound through each episode. Shadow themes are melodies that are acoustically derived from one another like shadows. At first these themes perform supportive roles, but as the story moves forward, they gain in dominance of pitch and dynamic. Sometimes running ahead of a passage, making aggressive commentary, and sometimes aligning with the emotional expression of the phrase, the violin shifts between a mere exercise of notes to a noble exploration of broadening lyricism.
—Notes by the composer
David BakerConcert Piece for Viola and Orchestra
The Concert Piece for Viola and Orchestra was commissioned by violist Karen Elaine (Bakunin). She premiered the work on February 25, 1991 at Indiana University with Robert Porco conducting the Indiana University Symphony Orchestra. I wrote the work for her on the recommendation of Josef Gingold and Janos Starker, both of whom had been judges at an international competition in 1988 in which she had won the first prize.
Of the 20 concerti I have written, this one is arguably the most ambitious. It is one of the most virtuosic, involves the largest orchestra, is the grandest in terms of emotional sweep, and is very much in the tradition of the major string concerti of the Romantic Era. Unlike most of my works, this concerto shows virtually no hint of a conscious jazz influence; my references are more obviously Bartok, Tchaikovsky, and Shostakovich. It is very much reminiscent of the tune-filled works of an earlier time.
The three movements are in the traditional Fast - Slow - Fast format. Out of the ordinary are an elaborate solo viola statement which opens the second movement and an equally elaborate and virtuosic cadenza in the third movement.
All in all, a challenging work for both the orchestra and the viola soloist, well performed by Paul Silverthorne and the Czech National Symphony Orchestra conducted by Paul Freeman
—Notes by the composer
David BakerConcerto for Cello and Chamber Orchestra
Concerto for Cello and Chamber Orchestra was written in the spring of 1975 and was premiered in March of that year by Janos Starker for whom the work was written and to whom it is dedicated. The concerto has three movements, configured in the traditional format: Fast - Slow - Fast. The instrumentation is somewhat unusual in that there are no cellos in the orchestral accompaniment.
The work is coloristic and dramatic. The first movement is lyrical in nature, featuring the cello in a somewhat transparent environment, ending with harmonics. The second movement opens with an extended solo cello recitative in which all of the principal thematic material of this movement is presented. The first theme is reminiscent of the material from the first movement; and special effects, including glissandi in the upper strings and the use of exotic percussion, create an impressionistic atmosphere. The third movement is jazz-influenced. The first theme uses the harmonic progression from “Back Home Again in Indiana” and is introduced over a series of rhythmic interjections. The second theme is a clever and charming twelve-tone row conceived by Starker and incorporated into this movement over a rhythmic bass line.
The work has enjoyed a number of performances, including those by such orchestras as the New York Philharmonic, the National Symphony, and the Chicago Sinfonietta.
—Notes by the composer
William Neil
William Neil's music has been performed on both sides of the Atlantic. He has written works for celebrated musicians including his Concerto for Piccolo Clarinet for John Bruce Yeh and Chicago Pro Music, Fantasia and Concerto for Guitar for guitarist Michael Lorimer, published by Melbay, and his songs set to poems by D.H. Lawrence, The Waters Are Shaking the Moon, for soprano Barbara Ann Martin. More recently, his Rhapsody for Violin, commissioned by the Katherine A. Abelson Fund of the Lester S. Abelson Foundation, was premiered by violinist Sharon Polifrone with Concertante Di Chicago in March of 1999. Leader Fine Arts Critic, Joseph Cunniff, said “Rhapsody…proved a bright, attractive work with an open sound and a long noble line.” The work had its European premiere under the baton of Paul Freeman and the Czech National Symphony Orchestra with Sharon Polifrone as soloist. William Neil's creativity has been recognized by awards from the American Academy of Arts and Letters, a BMI composition award, an ASCAP award, a Fulbright Fellowship, commissions from the National Endowment for the Arts, an Illinois Arts Grant, and the Rome Prize from the American Academy in Rome.
David Baker
David Baker, Distinguished Professor of Music and Chairman of the Jazz Department at the Indiana University School of Music, is an award-winning performer/composer/educator who has performed and taught all over the world. He has more than 65 recordings, 70 books, and 400 articles to his credit, and has written more than 2,000 compositions, including jazz, symphonic, and chamber works. Dr Baker has received numerous honors and awards, including the prestigious American Jazz Masters Award, and his service in music organizations includes the National Council on the Arts and the boards of the American Symphony Orchestra League and the International Association of Jazz Educators, of which he is the President. He is also the conductor and artistic director of the Smithsonian Jazz Masterworks Orchestra.
Sharon Polifrone
One of Chicago's most active musicians, Sharon Polifrone has also enjoyed an international career spanning 25 years and three continents. Her playing has garnered critical acclaim from New York to Beijing. Trained at the Juilliard School, Yale University, and the International School of Music in Nice, France, Ms. Polifrone joined the Audubon Quartet in 1978, touring and recording extensively with that group. Currently, Ms. Polifrone serves as Assistant Concertmaster of the Lyric Opera of Chicago Orchestra, Concertmaster of Concertante di Chicago, and Assistant Concertmaster of Music of the Baroque. In addition, she was the founder and director of the Virginia Chamber Music Academy and Assistant Concertmaster of the Grand Teton Festival Orchestra. She is currently on the faculty of Wheaton College. Ms. Polifrone has been involved with the commissioning and recording of works by many contemporary composers including Ezra Laderman, Ralph Shapey, Leo Kraft, Peter Schickele, Shulamit Ran, and Jon Polifrone. Critics have called her playing “passionate, with a beautiful, dark sound” (Roanoke Times) and “seemingly without technical constraint” (New York Times).
Paul Silverthorne
Paul Silverthorne is one of the foremost viola soloists of his time, having performed with major orchestras in the UK, USA and throughout Europe. His commitment to contemporary music has led to a close relationship with many leading composers. In August 1993 his performance of Robert Saxton's Viola Concerto at London's Royal Albert Hall prompted the Times to describe him as a “virtuoso in sensitivity as well as technique.” His solo engagements take him regularly to various parts of the world; he is also Principal Violist with both the London Symphony Orchestra and the London Sinfonietta. Silverthorne has recorded for EMI, NMC, ASV and Meridien. In addition he is a Professor at both the Guildhall School and the Royal Academy of Music, where he was recently elected a fellow. Paul Silverthorne is indebted to the Royal Academy of Music for the loan, from their collection, of the Amati viola of 1620 used on this recording.
Milos Jahoda
Milos Jahoda is considered one of the leading cellists of the Czech Republic. Born in 1962 in Prague into a musical family, he graduated from the Prague Conservatory where his principal teacher was the distinguished Professor Pisinger. He later studied at the Academy of Music, also in Prague, and was a prize winner in many competitions, having been named Laureate in the Beethoven International Competition. Mr. Jahoda has appeared as soloist with many orchestras, in addition to appearing in solo and chamber recitals. He holds the position of Principal Cellist of the Czech National Symphony Orchestra, is on the faculty of the Prague Conservatory, and is in great demand as a performer throughout the Czech Republic.
Paul Freeman
Paul Freeman has distinguished himself as one of the world's pre-eminent conductors. Much in demand, he has conducted over 100 orchestras in 28 different countries including the New York Philharmonic, the Cleveland Orchestra, the Chicago Symphony, L'Orchestre de la Suisse Romande, and major orchestras in London, St. Petersburg, Moscow and Berlin. Maestro Freeman has served as the Music Director of Canada's Victoria Symphony, Principal Guest Conductor of the Helsinki Philharmonic and Associate Conductor of the Detroit and Dallas Symphony Orchestras. He is currently Music Director of the renowned Chicago Sinfonietta and simultaneously serves as Music Director and Chief Conductor of the Czech National Symphony Orchestra in Prague. With over 200 recordings to his credit, he has won numerous awards for his unique interpretations of the classical, romantic, and modern repertoire. Dr. Freeman, who studied on a U.S. Fulbright Grant at the Hochschule in Berlin, holds a Ph.D. degree from the Eastman School of Music and LH.D. degrees from Dominican University and Loyola University. He was recently proclaimed by Fanfare magazine as “…One of the finest conductors which our nation has produced.”
Czech National Symphony Orchestra
Since the Czech Republic's bloodless "Velvet Revolution" of 1989, the country has been riding a rapid wave of democratization, which has affected the music industry as well. Orchestras in order to survive must concern themselves with the procurement of foreign funds through recording contracts and overseas performances. These developments have necessitated the need for higher performance standards.
Out of this chaotic scene Jan Hasenöhrl, an outstanding solo trumpet player, sensed the acute need to reshape the Czech orchestral scene and, in 1993, invited the top musicians from Prague's major orchestras to form a new orchestra, the Czech National Symphony Orchestra. The Orchestra gave its first concert, conducted by Vladimir Valek, in November 1993 in Prague's Rudolfinum Dvorak Hall. In 1994 the Czech music world's national treasure, Zdenek Kosler, was named chief conductor. The first recording was made at the beginning of April 1994. Maestro Kosler died in August 1995.
In January 1996 the brilliant American Conductor and Music Director of the Chicago Sinfonietta, Paul Freeman was appointed Music Director and Chief Conductor. Under Maestro Freeman's leadership, the Czech National Symphony Orchestra has shown stunning development. Already he has made more than 55 compact discs with the orchestra and has toured several European countries. So successful was the United Kingdom tour of 19 concerts under Paul Freeman and Libor Pesek that IMG Concert Management has recently signed a 5-year contract to tour the Czech National Symphony Orchestra in Europe, Asia, and America. Through its many recordings, concerts and television productions it has become one of the most important ensembles in the Czech Republic.
Artistic Director: Paul Freeman
Executive Producer: Joan Yarbrough
Producer: Jiri Gemrot
Engineer: Jan Kotzmann
Mastering: Jan Kotzmann
Recorded: June 1999 - June 2000, ICN Recording Studios, Prague
Cover Art: Charla Freeman Puryear
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