ARTEK Recordings

Contents of CD7 Booklet

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Time has a fascinating way of imprinting the mind and soul with

memories and impressions that, when reduced to their simplest form, become

part of the fabric of oneıs musical and emotional being. In preparing to

record an album of short pieces this became a strong

musical consideration. What shall I play? Do I focus on the range of

my interpretive style? Do I choose repertoire that shows the lyrical,

the virtuosic or the diversity of musical character?

In the early part of my career, when faced with such considerations, I would

have no doubt contemplated all of those elements. However, when thinking

about the material for this particular album I instantly recalled the

memories and impressions of works played by the most beloved violinists of

my youth. Yes, it may be sentimental and nostalgic, but indeed the time was

ripe for me to look back to those special moments and to make them part of

my recorded legacy. So, rather

than offer you more of the same historical information in the form

of liner notes, I have chosen to share with you some of my personal feelings


All of the pieces on this album are works that I have always wanted to

record. They all have a particular connection to specific violinists in my

memories. The Massenet Mediation from Thais, for instance, is one of the

first pieces I heard the remarkably gifted Michael Rabin play. The beauty of

his tone and purity of musical expression made a lasting impression on me.

The transcriptions of Gershwinıs Porgy and Bess, Ravelıs Valse Nobles et

Sentimental, Achronıs Hebrew Melody and Krollıs Banjo and Fiddle are pieces

every serious violinist associates with the great Heifetz. No doubt those

performances remain in our minds and hearts forever. In the Smetana Aus Der

Heimat, as well as the Novacek Perpetuum Mobile and Mussorgskyıs Hopak, I

pay remembrance to

a friend and mentor Nathan Milstein. These are pieces I associate

exclusively with him, and his performances of these great works glisten in

my memory as if I heard them yesterday. And, of course, there is the great

Kreisler who if not for his inimitable style and golden tone the violin

world would be half empty.

These are the memories I cherish and the reasons for this album. With this

CD I hope that I can take my listeners back in time, to an era when one

could express the special joy and uniqueness of the golden age of violin





This album is dedicated to the memory of my parents Jose and Virginia



Elmar Oliveira, Violin

Elmar Oliveira has taken his place as one of the most

commanding violinists of our time, with his unsurpassed combination of

impeccable artistry and old-world elegance. Mr. Oliveira is one of the few

major artists committed to the entire spectrum of the violin world ‹

constantly expanding traditional repertoire boundaries as a champion of

contemporary music and rarely-heard works of the past, devoting energy to

the development of the young artists of tomorrow, and enthusiastically

supporting the art of modern violin and bow makers.

Among his generation's most honored artists, Elmar Oliveira remains the

first and only American violinist to win the Gold Medal at Moscow's

Tchaikovsky International Competition. He is also the first violinist to

receive the coveted Avery Fisher Prize, in addition to capturing First

Prizes at the Naumburg International Competition and the G. B. Dealey


Mr. Oliveira has become a familiar and much-admired figure at the world's

foremost concert venues. His rigorous international itinerary includes

appearances in recital and with many of the world's greatest orchestras,

including the Zurich Tonhalle, Cleveland, Philadelphia, Leipzig Gewandhaus

Orchestras; the New York, Helsinki, Los Angeles and London Philharmonic

Orchestras; and the San Francisco, Baltimore, Saint Louis, Boston,

Indianapolis, Oregon, Vancouver, Taiwan and Chicago Symphonies, and the

Orpheus Chamber Orchestra. He has also extensively toured the Far East,

South America, Australia, New Zealand, and regularly performs at the Mostly

Mozart, Seattle, Grant Park, Blossom, and Chautauqua summer music festivals.

Engagements this season include the Chicago, Atlanta, Vancouver, New World,

San Francisco, New Mexico, Winnipeg, and Nashville Symphonies, the New York

Chamber Symphony, and the Louisiana Philharmonic.

Mr. Oliveira's repertoire is among the most diverse of any of today's

preeminent artists. While he has been hailed for his performances of the

standard violin literature, he is also a much sought-after interpreter of

the music of our time. He has premiered works by such distinguished

composers as Morton Gould, Ezra Laderman, Charles Wuorinen, Joan Tower,

Andrzej Panufnik, Benjamin Lees, Nicholas Flagello, Leonard Rosenman, Hugh

Aitken, and Richard Yardumian. He has also performed seldom-heard concerti

by Alberto Ginastera, Einojuhani Rautavaara, Joseph Achron, Joseph Joachim,

and many others. In recent seasons, he gave the World Premiere of Leonard

Rosenmanıs Violin Concerto No. 2 at Carnegie Hall with the American

Composers Orchestra, and the Spanish Premiere of Krzysztof Penderecki's

Second Violin Concerto, conducted by the celebrated composer.

A prodigious recording artist, Elmar Oliveira is a two-time Grammy nominee

for his CD of the Barber Concerto with Leonard Slatkin and the Saint Louis

Symphony. His discography on Angel, SONY Masterworks, Artek, Vox, Delos,

IMP, Ondine, and Melodiya ranges

widely from works by Bach and Vivaldi to the present. His best-selling new

recording of

the Rautavaara Violin Concerto with the Helsinki Philharmonic (Ondine) won a

Cannes Classical Award and has appeared on Gramophone's "Editor's Choice"

and other Best Recordings lists around the world. Other recent recordings

include the Joachim Concerto "in the Hungarian Manner" with the London

Philharmonic (IMP) and the Tower Concerto (written for him) with the

Louisville Orchestra (d'Note). Also recently released is the rarely heard

Pizzetti and Respighi sonatas (Artek), the Chausson Concerto for Violin,

Piano, and String Quartet, and the Lekeu Sonata, and a recording of the

Brahms and Saint-Saens B minor Concerti with Gerard Schwarz and the Seattle

Symphony (Artek). Of great historical significance are two unique projects:

a major video and CD released by Bein & Fushi of Chicago, featuring Mr.

Oliveira performing on some of the world's greatest violins (fifteen

Stradivaris and fifteen Guarneri del Gesus), and a recording of short pieces

highlighting the rare violins from the collection of the Library of


The son of Portuguese immigrants, Mr. Oliveira was nine when he began

studying the violin with his brother John. He later continued his studies

with Ariana Bronne and Raphael Bronstein at the Hartt College of Music and

the Manhattan School of Music, where Mr. Oliveira also received an honorary

doctorate. He has served on the juries of some of the most prestigious

violin competitions, including the Montreal, Indianapolis, Naumburg, and

Vianna da Motta. He has appeared on international TV including Good Morning

America, CBS Sunday Morning, the Today Show, and A&Eıs Breakfast with the

Arts among others. The Prime Minister of Portugal recently awarded Mr.

Oliveira the countryıs highest civilian honor - The Order of Santiago.

Elmar Oliveira performs exclusively on an instrument known as the

³Stretton², made in 1729-30 by Giuseppe Guarneri del Gesu, and on an exact

copy of that violin made by Curtin and Alf in 1993.


Robert Koenig, Piano

Pianist Robert Koenig performs regularly in many of the major centers

throughout North and South America, Europe and Asia. His 1998-1999 season


performances in Montreal, Dallas, Seattle, Alice Tully Hall in New York

City, and the Kennedy Center in Washington D.C. In Europe his recent

engagements have included London, Paris, Milan, Frankfurt, Munich, Amsterdam

and Moscow. While in Asia, he has performed in Tokyoıs Suntory Hall, the

National Theater of Taipei and the Seoul Arts Center.

Mr. Koenig has appeared at many festivals including Aspen, Ravinia, Banff,

the Campos do Jordao Festival in Brazil, the Seattle Chamber Music Festival,

Festival dıete du Quebec, and the Mostly Mozart Festival in New York. He has

collaborated with such noted artists as Aaron Rosand, Elmar Oliveira, Sarah

Chang and Pamela Frank. He is

frequently heard on radio and television including the CBC Network in

Canada, WQXR Radio in New York, the BBC in London, National Public Radio and

ABCıs ³Good Morning America². Since 1992, Mr. Koenig has been staff pianist

at the Juilliard School of Music in New York and the 1998-1999 season saw

him in residence as visiting artist at The Curtis Institute of Music. In

January 1999, his most recent CD on the Biddulph Label with

violinist Elmar Oliveira performing Chaussonıs Concerto for violin, piano

and string quartet was released.

Commencing with the September 2000 academic year, Mr. Koenig was appointed

Assistant Professor of Piano Chamber Music at the University of Kansas in


Born in Canada, Mr. Koenig began his formal training at the Vancouver

Academy of Music with Lee Kum Sing and Gwen Thompson and later studied at

the Banff School of Fine Arts and the Academie di Chigiana in Sienna, Italy.

During this time he received several awards from the Canadian Government

including a Canada Council Project Grant. Mr. Koenig completed both his

Bachelor and Masters Degrees in Accompanying from The Curtis Institute of

Music where he studied with Dr. Vladimir Sokoloff and chamber music

with Felix Galimir and Karen Tuttle. Currently he resides with his violinist

wife Elaine

in Lawrence.


[1] Jules Massenet: Meditation from ³Thais² (4:41)

Jascha Heifetz: Transcriptions for Violin from George Gershwinıs

Porgy and Bess

[2] Summertime / A Woman is a Sometime Thing (3:18)

[3] My Manıs Gone Now (3:27)

[4] Bess, You Is My Woman Now (2:38)

[5] It Ainıt Necessarily So (2:13)

[6] Tempo di Blues (2:43)

[7] Sergei Rachmaninoff: Vocalise Op. 34 No. 14 (5:22)

Maurice Ravel / Jascha Heifetz: Valses Nobles et Sentimentales

[8] No. 6 (0:48)

[9] No. 7 (2:34)

[10] Fritz Kreisler / Christopf Willibald Gluck: Melodie (2:55)

[11] Ottokar Nová˜cek: Perpetuum Mobile (2:45)

[12] Joseph Achron: Hebrew Melody (5:05)

[13] Fritz Kreisler: Liebesfreud (Loveıs Joy) (3:16)

Victor Herbert: Three Pieces

[14] 1) Serenade (1:35)

[15] 2) Canzonetta (1:57)

[16] 3) A la Valse (1:40)

Friedrich Smetana: Aus der Heimat (From the Native Country)

[17] I. Moderato (3:07)

[18] II. Andantino (5:05)

[19] Modest Musorgski: Hopak (1:55)

[20] William Kroll: Banjo and Fiddle (2:44)

Manuel de Falla: Suite Populaire Espagnole

[21] 1) El Paño Moruno (2:04)

[22] 2) Nana (1:53)

[23] 3) Canción (1:19)

[24] 4) Polo (1:08)

[25] 5) Asturiana (2:10)

[26] 6) Jota (2:54)

[27] Felix Mendelssohn / Fritz Kreisler: Lied ohne Worte (Song

Without Words) (2:53)

Total Time: 74:23



Laura Harth Rodriguez


Francisco X. Rodriguez

Editing and Mastering:

Digital Dynamics Audio Inc.

Graphic Design:

Jim Manly, Judd Robbins

Cover Photo:

Laura Lewis

Special Thanks:

Jill Jaffe

Recorded on July 25, 2000

at Concordia College,

Bronxville, New York

Piano courtesy of Steinway, NY


Elmar Oliveira, Violin

Robert Koenig, Piano

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