All Rachel Barton Pine articles
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NewsRachel Barton Pine plays sonatas of Arcangelo Corelli
Rachel Barton Pine’s new album of Arcangelo Corelli’s Op. 5 violin sonatas, on which she is joined by period-instrument specialists David Schrader (keyboards), John Mark Rozendaal (cello) and Brandon Acker (guitar), reflects the experimental spirit of Corelli’s original scores.
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Premium ❘ FeatureBaby on board: string soloists share their parenting stories
A life of performing, touring and rehearsing might seem impossible with a young child in tow – so how do so many soloists manage it? Catherine Nelson finds out, in this article from our May 2012 issue
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FocusMy violin heroine Maud Powell, by Rachel Barton Pine
Violinist Rachel Barton Pine examines why Powell's pioneering contribution to the art of violin recording so richly deserved the Lifetime Achievement Award at the 56th Grammy Awards in 2014
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ReviewRachel Barton Pine: Dependent Arising
A Russian concerto meets thrash metal and comes out on top
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Premium ❘ FeatureMasterclass: Rachel Barton Pine on Mendelssohn Violin Concerto
In our April 2017 Masterclass feature, US violinist Rachel Barton Pine shows why the first movement is not as easy as often assumed
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FocusRachel Barton Pine and her daughter share two pieces from ‘Music by Black Composers’
A throwback performance of the duo from 2020
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Premium ❘ FeatureSession Report: Recording Florence Price’s Second Violin Concerto
Violinist Rachel Barton Pine and conductor Jonathon Heyward speak to Harry White about recording Florence Price’s lost-and-found late work, the Second Violin Concerto
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BlogsDiscovering music by Black composers: Rachel Barton Pine
The violinist recalls her journey exploring works by overlooked composers and how embracing diverse voices promises enriching experiences
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ReviewLive-streamed concert review: Rachel Barton Pine (violin) Matthew Hagle (piano)
Charlotte Gardner views the performance on 14 December 2021, beamed live from Pine’s apartment
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VideoAll that jazz: Violinist Rachel Barton Pine
The champion of music by Black composers performs works by Billy Childs, Dolores White and Coleridge-Taylor Perkinson
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FocusThe Strad Podcast Episode #32: Rachel Barton Pine and Billy Childs on a new violin concerto
’If our violin concertos were only written by violinists, we’d get things that were very idiomatic, but perhaps never transcending that. It broadens our perspective’
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NewsViolinist Rachel Barton Pine to perform seated for the foreseeable future
Pine, who suffered injuries to her lower limbs in 1995, was advised by her medical team that she will be non-ambulatory over the next few years.
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ReviewRachel Barton Pine: Dvořák and Khachaturian
Atmospheric, subtly thought-out playing touching on the mystical
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BlogsRachel Barton Pine: 10 tips for practice and performance
The Strad attended a masterclass with the American violinist in 2015 and took down these practical pointers
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ReviewBlues Dialogues: Rachel Barton Pine, Matthew Hagle
Concentrating on pieces influenced by the blues, this CD is part of a long-running project to research music written by black composers.
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FocusBach: Six Sonatas and Partitas for Violin Alone
Rachel Barton Pine’s new edition of the scores for these staples of the violin repertoire is meticulous, generous and stimulating
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VideoViolinist Rachel Barton Pine in duet with her daughter
In this video from American Public Media’s ‘Performance Today’, Rachel Barton Pine performs with a budding violinist: her 7-year-old daughter, Sylvia
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FocusAn introduction to Joseph White and his six etudes
Joseph White, who died 100 years ago this year, was one of very few musicians of African descent to achieve international renown in the 19th century as a composer and performer. Yavet Boyadjiev introduces his Six etudes op.13 as works of considerable pedagogical value
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ReviewRachel Barton Pine: Elgar and Bruch violin concertos
ELGAR Violin Concerto in B minor, BRUCH Violin Concerto no.1 in G minor
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BlogsA novel way to practise double-stops - Rachel Barton Pine
The US violinist advocates emphasising either the top or bottom lines when practising double stopped scales to anticipate more accurately what occurs in the repertoire