PIP CLARKE
Violinist
During the past decade, Pip Clarke has established herself as one of the leading violinists of her generation. A highly expressive and romantic artist, her concert touring has taken her all over the United States, Canada, Europe and Asia. Pip is a unique musician at the very peak of her talent, and it is said that her tone warms and haunts the listener long after the music has ended. Loved by audiences wherever she goes, critics have described her playing as "dazzling", demonstrating "incredible emotion" and often noting an "audience spellbound".
In April of last year, Albany Records released a CD featuring Pip performing a newly composed violin concerto by American composer Lee Actor. Written for Pip, it is an outstanding composition with lush contemporary romantic melodies and dazzling virtuosity (available from www.albanyrecords.net). This marked Pip's third compact disc release.
On October 26th 2007 Pip gave her sold out debut in the Isaac Stern Auditorium at Carnegie Hall performing the violin concerto by Erich Wolfgang Korngold with the New York Pops. Other highlights of Pip's 2006/07 season saw the release of her second album, 'After a Dream' featuring a collection of short romantic concert pieces (available from www.classicjewel.net) as well as a performance of the Beethoven concerto under William Boughton and the London Sinfonia, and in spring of this year, she performed Mozart's 3rd violin concerto with the Long Island Philharmonic and David Wiley conducting.
Pip has become highly respected for her interpretations of such romantic works as the Korngold concerto, the Bruch Scottish Fantasy, the Bruch first and second concertos, the Glazunov Concerto, the Walton Concerto, the Saint Saens 3rd Concerto, the Dvorak Concerto, the Prokofiev Concertos, the Goldmark Concerto and the Barber Concerto.
During recent seasons her concert performances took her across the United States and into Canada with appearances with the Calgary Philharmonic (Stefan Sanderling) and the Regina Symphony (Victor Sawa). Highlights in America included three performances with the Florida Orchestra and Stefan Sanderling, the Syracuse Symphony Orchestra and Daniel Hege and six performances with the Utah Symphony Orchestra and Keith Lockhart in Salt Lake City and on tour in Southern Californian performing in Los Angeles and Santa Barbara. Pip also toured Scotland with critically acclaimed "sell out" concerts with the Royal Scottish National Orchestra in Glasgow, Aberdeen and Edinburgh. She was also the featured violin soloist in the major motion picture '15 Minutes' (with Robert De Niro and Edward Burns).
She has also appeared with the Buffalo Philharmonic under the baton of Timothy Muffitt, the Colorado Symphony under Marin Alsop, the Honolulu Symphony Orchestra under Samuel Wong as well as a guest appearance at the opening Gala Concert at the Hollywood Bowl. To date, she has performed with over 70 orchestras in the United States alone.
Critics have been unanimous about her playing. Her sound and style have been called "hauntingly unique" and "unforgettable" and her performances described as "commanding", dubbing her "Superwoman of the Strings", having a "fascinating presence".
Pip gave her London debut at just 16 years of age at the famous South Bank Center and quickly began touring throughout her native country England. Her performances took her to such London venues as St. James' Piccadilly, St. Martin in the Fields and several return performances at the South Bank Center. She also appeared on national British Television including a concerto performance with Sir Michael Tippett conducting.
After the release of her debut recording, 'Romantic Violin Showpieces', Musical Opinion (one of Europe's premier classical music magazines) wrote that the disc included "one of the most compelling accounts on record of Chausson's Poéme". Pip has also appeared in recital as one of the "Rising Stars" at the Ravinia Festival in Chicago and regular trips to England have seen performances at leading International Festivals including the Wyastone Summer Festival in 2006.
In a competitive age of solo violinists, Pip Clarke stands out. With her breathtakingly romantic style of playing, she is always easily identifiable. The passionate artistry, impeccable technique and luscious tone tell us that there is little doubt that she is one of the brightest stars on the musical platform of the world. She is featured in the 2007 book, 'The World of Women in Classical Music' by Dr. Anne Gray and the revised 2004 edition of 'The Great Violinists' by Margaret Campbell.
REVIEWS
IN PERFORMANCES WITH ORCHESTRAS...
Adrian Symphony Orchestra, Clarke dazzle in performance
Violinist Pip Clarke’s biography in Saturday’s Adrian Symphony Orchestra concert program notes that her playing has been called “dazzling,” demonstrating “incredible emotion,” and capable of holding an audience “spellbound.”
The English-born Clarke took on the considerable demands of the Prokofiev concerto, which has some of the most pyrotechnical violin work there is, with flawless musicianship. A violinist can’t be at all tentative with a piece like this, and Clarke was absolutely fearless in both interpretation and execution. This work has long been a showpiece for virtuoso violinists, and her performance of it was, in a word, brilliant. Well, her performances Saturday of the Prokofiev Violin Concerto No. 2 and Vaughan Williams’ “The Lark Ascending” were all of that and more.
Then, after intermission, Clarke took the stage again with the ASO for yet another auditory about-face. Coincidentally or not, it was an avian second half, with both works after intermission focusing on our feathered friends: “The Lark Ascending” and Respighi’s “The Birds."
"The Lark Ascending” has to be hands-down one of the most transcendent pieces in the violin repertoire. The work is languid and tranquil, depicting a lark flying over the English countryside, soaring higher and higher until eventually it disappears in the sky. It is breathtakingly beautiful, very vivid music, and Clarke’s violin evocation of the lark was just stunning. It was an opportunity to hear a top-flight soloist perform spectacularly at two very different ends of the musical spectrum, with one piece requiring jaw-dropping virtuosity and the other an exquisitely melodic composition by one of the master writers of such works.
Two primary things can be taken away from this concert
Saturday’s performance in all respects earned the standing ovations, plural, which the Adrian Symphony and the truly phenomenal Clarke received for their work. It was an inspired effort on all fronts.
Daily Telegram - April 2012 - Adrian, Michigan
Midland Symphony Orchestra impresses with modern program
"Violinist Pip Clarke, the British-born guest soloist, was featured on Lee Actor's "Concerto for Violin and Orchestra," written for Clarke and first performed just six years ago. Through it all, Clarke demonstrated amazing control and impeccable technique. She was passionate and soulful and still mastered the challenging passages."
Midland Daily News - November 2011
NHSO opens season with rousing performance under Boughton's baton
"The agile violinist showed her style and flair (Saint Saens Violin Concerto)...."
New Haven Register - September 2008 - Connecticut
Violinist Sparkles as Symphony Opens Season
"Artwork and artistry were much in evidence Saturday night as the Mobile Symphony Orchestra welcomed the return of violinist Pip Clarke, who last performed here in November 2003.
The next half-hour belonged to the British-born Clarke, who performed what has become her signature piece, the Violin Concerto of onetime movie composer Erich Wolfgang Korngold. Clarke will perform the work again in October when she makes her debut at Carnegie Hall.
Ten years ago, the writer Steve Schwartz said he once asked a violinist friend of his to describe the violin concerto, and he replied: "Pure corn and pure gold." After hearing it, one understands, and Clarke played the difficult piece with a passion that spotlighted each showcase moment.
Her playing elicited spine-tingling moments, from the soaring solo that opens the concerto to the closing Allegro assai vivace with thematic elements from the film "Anthony Adverse."
Clarke was superb and in control through the electrifying climax. The audience showed its approval with cheers and applause that drew the violinist back to the stage for a poignant interpretation of Fritz Kreisler's arrangement of the Clarence Cameron White spiritual "Nobody Knows the Trouble I've Seen."
Press Register - September 2007 - Mobile, Alabama
The Season Premiere
"Obviously, it's healthy. Victor Sawa, conductor of the Regina Symphony Orchestra, told his Saturday evening audience that he likes to feed season-premiere concertgoers "comfort food." It works. The crowd was left smiling with the lip-smacking, three-course banquet, including a spectacular flambe, that launched Sawa's 10th season with the RSO.
The flambe came with a return visit by Los Angeles violinist Pip Clarke to play Max Bruch's fiery 'Scottish Fantasia'. It is an often-heard work, but it acquires a freshness when presented live. As with her appearance last season, when she performed Erich Korngold's 'Concerto for Violin in D Major', Clarke is a commanding figure on stage: tall, erect, scarcely moving. She is statuesque, but never stony. This is no sissy work, but one of great passion, and Clarke gives it all the finesse required. The 'Fantasie' picks up a number of Scottish airs, finishing with the dramatic "Scots wha' hae", in which Clarke was called upon to double, then quadruple, the notes. The orchestration was stirring, using the deep brass to provide a smoky Highland vista, and the harp to add a Celtic flavour. Harpist Olivia Ritchey was called to take a bow during the ovation.
There was speculation among listeners that, surely, Clarke must have been playing a vintage violin to produce her rich sounds. It is good to know that some wonderful things can still be created today, and she confided that her instrument is a 1983 Peresson, crafted in Philadelphia."
The Leder Post - September 2006 - Regna, CANADA
London Sinfonia with William Boughton
"The second half of the concert was devoted to Beethoven's Violin Concerto, performed by Pip Clarke, in a rare UK appearance from this US based British violinist. From the opening orchestral tutti one sensed that this was going to be a dramatic non-sentimental reading, which so often underates this mighty work.
The opening octaves of the solo violin showed that Ms Clarke was in control of the structure of the work and was not going to allow it to degenerate into a series of cameos – which can so often happen! Her intonation was secure throughout and her range of colours and beauty of tone poured light into the work's edifices. In the slow movement she weaved a beautiful line in between the Orchestras solemnity, once again maintaining the structure and using a range of vibrato and bowing to achieve her effects. The finale brought this fine performance to a joyful conclusion which was received with rapturous applause.
Let's hear more of this British violinist on this side of the Atlantic please."
South Wales Argos - June 2006 - United Kingdom
Peninsula Composer's Gem
"FOR MANY YEARS I've harbored a secret wish to be present at the introduction of a great musical work. Peninsula composer Lee Actor has granted my wish with a first performance of his Concerto for Violin and Orchestra, introduced in concert by the Mission Chamber Orchestra this past weekend at Le Petit Trianon in San Jose. It was a stunning success, one that brought to mind the great Sibelius violin concerto.
I guess, after all these years of reviewing, I've developed an ad hoc set of criteria: If it's exhilarating, brings me close to tears by its beauty and I want to hear it again, then in my book it's great. And my answer to all these questions is "yea." I have no doubt. This is a major work deserving of national attention. It was commissioned by the Mission Chamber Orchestra in honor of its 10th anniversary and Actor delivered full measure.
Not only that, English violinist Pip Clarke, the soloist that evening, is the one he had in mind when was composing. It was a marriage made in musical heaven, as she conquered the heights with stunning technique and timbre. I was riveted from the opening bars to the very end. Where has she been all my life? She is as beautiful in person as she plays the instrument, and is certainly a potent rival to the best of the concertizing violinists who choke the concert stages these days.
Although Actor pays homage to the harmonies and dissonances of modern composers, his work is really steeped in traditional forms and his orchestrations match the best of them. This concerto verges on masterpiece and bodes well for Actor, who is devoting himself full time to the art. Actor is not entirely unknown. The Palo Alto Philharmonic, where Actor is composer-in-residence, has already given readings of his Variations and Fugue for Orchestra, Symphony No. 1, Prelude to a Tragedy, and most recently his Concerto for Timpani and Orchestra. The Redwood Symphony commissioned and performed his "Redwood Fanfare" in 2002. And one of his works is being programmed by the Peninsula Symphony for its next season. But until they hear this violin concerto, they ain't heard nothin' yet."
San Mateo County Times - April 2006 - San Jose, CA
"The symphony, conducted by Randall Craig Fleischer, sounded remarkably together during the film and also in the far more complex piece that opened the concert: Erich Korngold's Violin Concerto in D Major.
The soloist, Pip Clarke, made a strong impression in the first movement, a glassy yet full-voiced sound. From the balcony on Saturday it seemed as if the music was coming from a point about 20 feet above her.
A quick poll at intermission split between listeners who thought her violin might be miked and those who thought not. Either way, Clarke's sensual shaping of the highly atmospheric lines in the first two movements and her flashy technique in the finale were electrifying.
Best-known for his Warner Brothers soundtracks, Korngold was also, at one time, in the front ranks of serious concert composers. His concertos and symphonies reflect some of the Hollywood techniques that he pioneered, brimming with tempting emotionality yet bafflingly sidestepping easy melodic hooks."
Anchorage Daily News - January 2006 - Anchorage, AK
"English violinist Pip Clarke was the guest soloist for the Violin Concerto of Erich Wolfgang Korngold. Korngold, a prodigy once seriously compared to Mozart, was notoriously prickly about the damage done to his reputation among "serious" music lovers by his success as a crafter of classic film scores in the '30s and '40s.
His 1948 concerto is a romantic tour-de-force, full of ravishing tunes lifted from various movie scores and a crowd-pleaser from the very first bar.
Pip Clarke was the right interpreter for this flamboyant and dashing work. She obviously loves the dramatic gestures and yearning chromatic themes that animate the piece, and did ample justice to it all."
Roanoke Times - November 2005 - Roanoke, VA
"Clarke, who made her London debut at the age of 16, has been hailed for her unique style of playing and spectacular sound qualities. She certainly cannot be faulted in terms of spectacular technique. She showed her warm and rich qualities of tone in a lovely encore following a standing ovation, Fritz Kreisler's arrangement of the spiritual "Nobody Knows the Trouble I've Seen," a tribute to the current national tragedy in the southern part of our nation."
Flagstaff Sun - September 2005 - Flagstaff, AZ
'SUPERWOMEN OF STRINGS' FASTER THAN A SPEEDING BULLET
"British-born violinist Pip Clarke could stand in for Jennifer Garner in the 'Alias' series, she's a dishy, long-haired young woman with powerful personality and musical muscles to match. Critics worldwide have dubbed her 'Superwoman of Strings', and Friday night the Clay Center audience found out why, as she played Erich Korngold's 'Violin Concerto Op. 3' with the West Virginia Symphony. They were so overpowered with her rendition of the unfamiliar, fiendishly difficult work that they applauded and cheered between each movement, not usually good concert hall etiquette.
Clarke's commanding artistry took immediate possession of the piece, releasing a sonorous rich tone very much her own. Her pitch is dead on and her bowing virtuosic: the two most important elements of violin technique.
She delivered the lovely second movement with a sweet, singing quality when called for, and disciplined give-and-take with the orchestral conversations. The mood meter turned brittle and raucous with the third movement, and Clarke might have sawed her 1983 Italian-made fiddle in two, had her bow had a blade instead of horsehair. It was a free-for-all in gung-ho Hollywood style, as fiendishly difficult for the large orchestra as for the soloist. At times it sounded like the Cavalry was coming to save the day. And all was well that ended well: a triumph for Clarke, Cooper and the WVSO."
Saturday Gazette-Mail - April 2005 - Charleston, WV
VIOLINIST SHOWS HER FLAIR
"The soloist for the concert was English violinist Pip Clarke, whose excellent account of Bruch's Scottish Fantasy was deservedly well received.
Clarke has a distinctive sound and an individual style of playing. She has an obvious flair for the romantic gesture and for making virtuoso passagework sound full of substance and meaning. This is no mean feat in the Bruch Fantasy, not a work of great musical significance, but sounding like a major concerto under Clarke's commanding presence and total commitment to the performance. A return engagement would certainly be welcome, especially with a major concerto."
Calgary Herald - March 2005 - CANADA
AUDIENCE TREATED TO ROMANTIC EVENING
"As much as hearing it, seeing a performance of Erich Wolfgang Korngold's 1945 'Concerto for Violin in D Major' made this a warm experience.
Visiting violin virtuoso Pip Clarke, originally from the northwest of England, now based in Los Angeles, has a commanding presence of stage.
Clarke stands quite erect, scarcely moving her body, even in the most passionate sections of the concerto, although if one watches her closely, her face will show traces of her oneness with the music, especially in the highly ornamented variations of the final movement."
Regina Leader-Post - March 2005 - CANADA
"Soloist Clarke, a young British artist who is a Korngold devotee, played with technical polish, big vibrato and lots of verve, obviously secure in the concerto's sometimes stratospheric tessitura."
Ann Arbor News - October 2004 - Ann Arbor, MI
"The truly sweet stuff came when English violinist Pip Clarke took the stage for Dvorak's Violin Concerto. In the past decade, Clarke has become a solo staple, playing with more than 70 orchestras in the United States alone. Saturday's performance leaves one with little doubt why. The violin is second only to the voice in its ability to encompass the range and depth of human emotion. And Clarke is second to none in pulling those emotions from her instrument. To hear that ancient Slavic theme weeping from her strings is to know what the composer must have felt when penning the work. "Haunting" is the term often used to describe Clarke's unique tone, and it serves particularly well with Dvorak's work."
The Lima News - October 2004 - Lima, OH
ORCHESTRA, VIOLINIST TIP HAT TO HOLLYWOOD SOUND
"Every orchestra today must break even by striking a balance between masterworks and music on the fringe, between accepted and neglected composers. Consider Erich Wolfgang Korngold and his Violin Concerto, impressively played Thursday night by soloist Pip Clarke at the Tampa Bay Performing Arts Center. Clarke and the orchestra conjured up some delightful moments, embracing the high calorie opening theme, which Alexander Courage transformed into music for the 1960s television series 'Star Trek'. Clarke spun through the saccharine Romance section and showed her chops in the energetic finale, which quotes the score of 1937's 'The Prince and the Pauper'. Clarke fired off two short encores, a traditional American spiritual followed by William Kroll's quirky 'Banjo and Fiddle'."
Tampa Tribune - March 2004 - Tampa, FL
"Thursday's soloist, young British violinist Pip Clarke, made a return appearance Thursday to the Centroplex Theatre. She joined conductor Timothy Muffitt and the Symphony in February 2001 for Erich Wolfgang Korngold's violin concerto. For her latest visit, Clarke performed the Glazunov Violin Concerto in A minor. She poured the vibrato on for the concerto's slower, serious first section, appropriate given the music's emotional bent. Her big, warm tone was likewise apropos for Glazunov's highly romantic, lyrical violin melodies. The symphony's musicians aided the warmth of Clarke's violin beautifully with their own orchestral heat. The Glazunov concerto brightens in its second section. The orchestra gets happy, the violin gets flashy. Clarke, having no trouble with her racing lines, made the section a showcase for her bountiful bowing, all the while staying musical and expressive."
November 2003 - Baton Rouge, LA
PIP CLARKE COAXED CENTURIES-OLD EMOTIONS FROM HER VIOLIN
"British-born Clarke used her Italian-made violin to interpret the seldom-heard Concerto for Violin and Orchestra in A minor, op.82 by the Russian Alexander Glazunov. This blending of international talents and traditions pleased the Saenger Theatre audience of more than 1,700. Glazunov's sweetly lyrical concerto unfolds seamlessly - essentially three movements and a transition passage - and is richly layered with melody at the beginning. The opening was translated with warmth and sensitivity by the violinist and the orchestra, yielding to a somewhat mournful middle passage. The closing calls for a mix of acrobatics and finesse, which Clarke managed with supple grace. Her impressive bowing, pizzicato and stylistic flourishes never distracted from the music. She delivered a vivacious performance and the Mobile audience showed its appreciation with a lengthy ovation."
Mobile Register - November 2003 - Mobile, AL
A BRAVURA PERFORMANCE...
"An evening of Scottish music performed by the Cedar Rapids Symphony Orchestra was just what was needed to warm up a chilly Saturday night in late October. Guest violinist Pip Clarke gave a bravura performance of Bruch's 'Scottish Fantasy'. The talented English violinist is known for her passionate solos, coupling a strong personality with commanding technique."
The Gazette - October 2003 - Cedar Rapids, IA
AUDIENCE SPELLBOUND
"Final concert soloist of the season was the young English violinist Pip Clarke, who held the audience spellbound. She made Bruch's 'Scottish Fantasy' sublime and she made the violin an unarguably beautiful instrument. Notes and double notes quivered above the orchestra, they soared above even the self in that impossibly challenging last part, reaching ecstasy in a single note.
Clarke formed an elegant synchrony of silver gray gown, straight sandy hair and rich violin as she played with fierce concentration. It may not have looked like fun, but the excellence of her passion transcended these troubled times and earned her a standing ovation, and the orchestra a double bow."
The Citizen - April 2003 - Key West, FL
INCREDIBLE EMOTION
"Clarke earned a well-deserved standing ovation for Max Bruch's effective Scottish Fantasy for Violin and Orchestra. It was not just Clarke's bravura playing, it also was the incredible emotion she captured with the various moods and melodies Bruch wrote into the number. The plaintive melody of the opening segment was a particular standout, and Clarke wrung every bit of feeling from it as if she was in a world of her own. The orchestra certainly offered her tremendous support, as the musicians, too, evoked the piece's emotions."
The Times - March 2003 - Shreveport, LA
MUSICALLY CRAFTED AND IMPRESSIVELY VIRTUOSIC
"The concert's concluding challenge was to realize the finish, care and epical cast of Beethoven's only complete violin concerto, Op.61 in D major. British violinist Pip Clarke, a favorite soloist with the Lancaster Symphony, gave a performance that was both musically crafted and impressively virtuosic. Clarke possesses a brilliant tone, a vibrato that lends passion to her sound, and an ease in execution that makes the most complex passages a pleasure. Her commanding presence is supported by great musicality, and intonation so impeccable that the ear is naturally drawn to her playing.
The first movement's long introduction displayed sufficient shaping and interpretive interest to carry us to the soloist's first entrance. Maestro Gunzenhauser established an excellent tempo, where no one sounded rushed and the musical weight of every note was heard. The orchestra gave a good account of Beethoven's noble melodies. The second movement is a beautiful larghetto during which the soloist provided the most delicate of arabesques. During tender, hymn-like passages Clarke's vibrato shimmered like polished crystal, and her low register tone was strongly communicative. While the greatest musical interest is focused in the first two movements, virtuosic pyrotechnics come to the foreground in the third. Clarke's immense control allowed the singing quality of her tone to dominate despite the obvious technical challenges."
The Sunday News - February 2003 - Lancaster, PA
UTAH SYMPHONY STRIKES GOLD WITH AN EXCITING PERFORMANCE
"While the world's finest athletes will be showcasing their talents in Salt Lake City this February, the Utah Symphony members will be showcasing theirs in sunny southern California. One of the two programs that they will be taking on the road was presented on Friday evening at Abravanel Hall. If their performance then is anything like their performance now, they'll be very much on par with the athletes taking home the gold. The program featured English violinist Pip Clarke in Korngold's Violin Concerto in D Major, op.35. Clarke's temperament seems perfectly suited for the concerto. She plays this romantic, film-based piece with all of the schmaltz and spectacle it deserves. She milked the lyric passages for sentimentality (particularly in the second movement) and effortlessly tossed off the showy third movement with ease and panache. She's obviously an extremely talented performer and this piece shows her talent well. Salt Lake is notorious for almost always giving standing ovations, whether or not they are deserved. True to form, the symphony got a standing ovation Friday - but this time it really meant something."
The Deseret News, Salt Lake City - January 2002
Utah Symphony Orchestra - Salt Lake City
AN ENGAGING SOLOIST
"With the Sundance Film Festival winding down and a concert tour to Southern California in the near future, the Utah Symphony offered a movie tribute of its own this weekend. British-born, California-based violinist Pip Clarke played a concerto by film-score luminary Erich Wolfgang Korngold; the orchestra performed "Three Hallucinations" from John Corigliano's Oscar-nominated score for "Altered States". Clarke was an engaging soloist Friday. Her warm, romantic tone was well-suited to the audience-friendly Korngold concerto. She appeared to be having fun with the tuneful piece, which incorporates melodies from four Korngold film scores in its traditional three movements."
The Salt Lake Tribune, Salt Lake City - January 2002
Utah Symphony Orchestra - Salt Lake City
"English violinist Pip Clarke brought tremendous confidence and finesse to bear on Korngold's concerto, a work receiving its SSO premiere Friday night. Her technique was impeccable, and she handled the bravura writing of this tour de force with ease, a strong bow indeed.
Korngold is best-known for his film scores from the '30s. His concerto bridges the gap between Hollywood and concert music by drawing upon work for the former in each of its three movements: "Another Dawn and Juarez" in the nimble first movement; "Anthony Adverse" in the middle romance; and "The Prince and the Pauper" in the finale. With such varied material, Clarke was up to the task at every turn."
THE POST STANDARD - September 2001
Syracuse Symphony Orchestra - New York
"Featured soloist for the evening was violinist Pip Clarke, the Chamber Orchestra of Albuquerque's artist-in-residence, continuing her cycle of the five Mozart violin concertos with the orchestra. She performed the first two last season, the third in October and Friday night, the fourth. She proved a lyrical player, with a rich, singing tone and a clean, sharply focused technique. She revealed a strong, sensitive connection to Mozart's writing."
THE JOURNAL - March 2001
Chamber Orchestra of Albuquerque - New Mexico
The strength and athleticism of Clarke's playing belied her petite presence.
"When the piece in question is Erich Wolfgang Korngold's grandly romantic and tuneful Violin Concerto in D, even such Baton Rouge-type fans of modern music can have no complaint. A splendid work introduced to the world by none other than violin superstar Jascha Heifetz, the Korngold concerto was performed with flash and musicality Thursday by guest violinist Pip Clarke. Korngold, an excellent example of the Viennese-Romantic school of composition, wrote his D major violin concerto near the end of his 12 year run as a composer of Hollywood film scores. Melodies from his films, including those from the Errol Flynn-starring 'Another Dawn' and 'The Prince and the Pauper', reappear in his violin concerto.
The romanticism of Hollywood in the 1930's, not to mention Flynn's dashing screen image, are definitely at play in the violin concerto, and Korngold's themes, especially the passionate opening melody, are striking and memorable. As romantic rumblings conjured by the orchestra and conductor Timothy Muffitt stirred behind her, guest artist Pip Clarke laid the vibrato on, just as she should for this highly romantic concerto. The strength and athleticism of Clarke's playing belied her petite presence. Her confidence in the piece was evident in bold melodies and quick-fingered technical display, both of which Heifetz must have reveled in. After further demonstrating his melodic gifts in the aptly titled second movement, 'Romance' Korngold writes more for a showcasing fiddle than a plaintive violin. Clarke met the challenge, galloping and sawing through the furious finale with much flair."
BATON ROUGE - 2/24/01 - Baton Rouge Symphony - Louisiana
"The heat of the night, then, was down to violinist Pip Clarke, who didn't half lay into Bruch's Violin Concerto, substituting raw throbbing intensity for all the usual sugary bits. The beautiful violinist is as good to listen to as she is to watch."
Glasgow Herald - 2/16/01
Royal Scottish National Orchestra, Glasgow
CROWD PLEASERS TO STOKE FIRE IN LOVERS' HEARTS
"The couples came in two by two for the RSNO's sellout St. Valentine's Concert. I've always thought of Bruch's First Violin Concerto as a young man's piece but soloist Pip Clarke put enough sweetness and light into it to convince me otherwise. There's a lot to be said for putting on crowd-pleasing concerts like this, especially when they're designed to stoke the fire in your lover's heart."
The Evening Express, Aberdeen - February 2001
Royal Scottish National Orchestra's St. Valentine's Concert at the Music Hall
PIP CLARKE LIVES UP TO HER BILLING AS 'SUPERWOMAN OF THE STRINGS'
"English violinist Pip Clarke, featured artist with the Western Piedmont Symphony, performed Erich Korngold's Concerto for Violin in D major with all the virtuosity and show-style that have caused critics to label her 'Superwoman of the Strings'. Indeed, she performed with flair this concerto that launched and scattered hundreds of notes per square inch into the audience as she overcame the agony and the ecstasy of the difficult and challenging music. In the first movement, Clarke's bouncing bow (spiccato articulation) caused the melodic line to nervously chatter its emotion as it scurried along over the full orchestra foundation. Throw in her sensuous hair tossing and you can understand why one critic christened her the 'Queen of the Bouncing Bow'. The second movement called for more pathos. Clarke's tone was sweeter and more restrained as she elicited a feeling of sad sighs and cries detached from the symphony's compassionate accompaniment. The bouncing bow returned full force in the third movement, which galloped along to an energetic close."
The Hickory News, NC 11/15/00
A CONSIDERABLE GIFT
"Guest violinist Pip Clarke then took the stage to perform the 1939 violin concerto by William Walton. Walton writes complicated music. His melodies are long and not easily identified as tuneful so an audience can feel frustrated and overwhelmed. However, the artistry of the youthful Clarke was never in question. Walton allows the violinist very little rest. Even the dreamy episodes at the beginning and end of the concerto require some demanding and delicate finger work. The second movement intersperses a frenzied dance theme with sultry invitations from a passionate gypsy. Clarke filled the auditorium with the sound from her solitary violin. She interpreted this complex music clearly and intensely. As the audience grappled with Walton, the concerto skipped right off the stage in a flurry of amazing technical gymnastics. Shouts of 'Brava' warmly acknowledged the considerable gift Clarke brought to her Duluth debut."
Duluth News Tribune, MN 10/30/00
ONE OF THE WORLD'S BRIGHTEST NEW STARS ON THE VIOLIN
"Patrons also got to hear one of the worldðs brightest new stars on the violin, Pip Clarke. William Waltonðs Violin Concerto was performed by the critically acclaimed Clarke. With an expressive and full tone, Clarke played with the confidence and assertiveness of one absolutely sure in all matters technical. From Halloweenish overtones to deft runs up and down the fingerboard, Clarke carried through musically and accurately, all with aggressive attacks on the strings as called for by the piece."
The Budgeteer News Tribune, MN 10/30/00
EFFORTLESS...FLAWLESS...SCINTILLATING
"..... beautifully played by the British-born Clarke. Her tightly wound vibrato seemed just right for the 1940-ish effusion of sonic glucose that is the first movement, and her effortless, silvery tone on the second would have been perfect for one of Dorothy Lamour's more existential contributions to film history. The final movement is a high-spirited sprint, and Clarke's technique, flawless in the whole work, was especially scintillating here."
The Honolulu Advertiser 9/26/00
PIP CLARKE DELIGHTS!
"Romanticism is making a comeback. Not so long ago, contemporary classical composers wrote mathematically exquisite, cooly intellectual works and barely acknowledged the "hacks" who wrote music for films. Today, contemporary classical music can be beautiful, programmatic, accessible, even emotional without apologizing and film composers are being reassessed.
The first half of Sunday's concert featured Pip Clarke, who performed a concerto by Erich W. Korngold, a composer best known for his film scores. Shunned in his day for both his film associations and his astonishingly romantic style, Korngold is gaining acclaim, in part because of violinists like Clarke who promote his music. Korngold's music sweeps ashore not in waves, but in whole tides of lush, swirling sound. Clarke bathed in the music, caressing its delicate phrasing and translucent endings. However lovely the first two movements, Clarke shone in the third, with its rollicking good humor, fiery spiccato passages and opulent climaxes."
Honolulu Star-Bulletin 9/25/00
"Guest artist of the evening was Pip Clarke for Erich Korngold's Violin Concerto in D major, op.35. Written in 1945, it was roundly denounced for its backward-looking sensibilities. But it has come into its own lately with Clarke a brilliant advocate for its plush, lush romantic outlook. There is some serious fiddling here, technically demanding, which she tosses off with considerable flair. Also great taste, for she is in complete sympathy with this music. Marin Alsop and the CSO musicians gave her a backing that couldn't be beat."
The Denver Post, CO - May 2000
DUO BRINGS BALANCE TO BRAHMS CONCERTO
"The youthful duo of Pip Clarke, violin and Wendy Warner, cello, infused the Brahms double concerto with remarkable spontaneity in Thursdayðs concert with the Delaware Symphony Orchestra. Clarke and Warner have established promising solo careers with major European and American orchestras. As a duo they displayed a rare combination of artistic maturity and vitality. .... While both musicians match the aspects of their tasks solidly, their interchanges, discussions, disputes and interactions really make the piece live. Their playing with the orchestra in the lush Brahmsian abundance of the last movement was equally impressive. The Grand Opera House crowd brought them back for several rounds of applause."
The News Journal, DE - May 2000
"In Mozart's Concerto No.2 in D Major for violin and orchestra, soloist Pip Clarke, brought a much needed dose of vitality and technical precision .... her sweltering tone and pronounced vibrato .... her performance was energetically executed. A standing ovation and vigorous applause from a warmly supportive audience concluded the performance."
The Cincinnati Enquirer, OH - April 2000
A DOUBLE DOSE OF VIRTUOSITY
"Local audiences got a bonus this weekend - two string virtuosos instead of one playing Brahms' Double Concerto with the Lancaster Symphony Orchestra. English violinist Pip Clarke has been a favorite with Lancaster audiences for the past couple of years. She was joined by talented cellist Wendy Warner, and it is no wonder that they and the orchestra got a standing ovation. Clarke and Warner had a rapport and played well together. Clarke's fingers flew over the strings and her bowing was excellent as she demonstrated technical proficiency, producing clear and beautiful tones. Warner brought out the mellow sounds of her instrument, giving expression to its rich tonal quality. She played a bright Hungarian melody at the beginning of the third movement that set the pace for an energetic conclusion of the piece. Soloists exhibited good timing and rhythm and the orchestra blended well, producing the full instrumental sounds of the composition."
The Journal, Lancaster, PA - April 2000
"The orchestra found high ground when they were joined by two first-rate soloists, Pip Clarke (violin) and Wendy Warner (cello). The work was Brahms's Concerto for Violin and Cello in a minor, op.102. Both soloists played with passion and verve, and possessed a virile presence of tone. We witnessed some aggressive playing. Pip Clarke possesses all the hallmarks of a virtuoso, imposing technique, a brilliant vibrato and snappy use of the bow. Her soloistic presence could overbalance Brahms's symphonic concept, but Maestro Gunzenhauser did an excellent job of blending both soloists into the orchestral fabric. Wendy Warner's episodes in double stops demonstrated the full richness of cello tone. In particular, the first movement's last statement of the principal theme conveyed intense emotion and drama. The concerto's second movement is a grandiloquent instrumental song which led soloists and orchestra to an autumnal feeling and warm lyricism. Expert projection of long-breathed phrases delivered a true singing quality. The primary theme played by soloists together demonstrated exceptional consistency in the internal nuance of each line. An energetic Hungarian melody was firmly set by the cello at the beginning of the third movement. Episodes occurring between repetitions of this refrain were managed by the solos, who were well matched and in good rapport. The stern and stately central episode suited the commanding presence of these two virtuosos. The orchestra matched this panache, and the appreciative audience responded with a standing ovation."
Sunday News, Lancaster, PA - April 2000
"Violinist Pip Clarke joined the orchestra for a reading of Prokofiev's Second Concerto. a work that displays contrasting sides of the composer. The soloist intones the opening, which is rather serene, with the orchestra joining in for a layered texture. The second movement is all about melody and the English violinist soared. The finale is a gruff, gutsy dance, and both soloist and orchestra seemed to like digging into the dirt a bit. Clarke's tone was clearly heard."
New and Record, Greensboro, NC- September 1999
"With fingers flying fast and sure, Clarke began with gusto. The English violinist joined the orchestra for Vivaldi's 'Four Seasons', leading the way to a smashing performance. Clarke's playing can best be described as fluid, notes falling from her strings like water from a fall. With a flick of her now-long, straight hair, she put her bow to work. The music lent itself to a musician with emotion, and Clarke was the right match. Often nodding and stepping into the notes, Clarke let forth a stream of rich music that was enhanced by her beautifully wavering vibrato. Dancing between long legato phrasing and particular staccato work, Clarke showed the house her amazing versatility and skill."
The Lima News, Lima, OH, - May 1999
"In between we heard an impassioned and insightful reading of the William Walton Violin Concerto from Pip Clarke. Clarke is a young lady of brilliant accomplishments on the violin, as well as making a striking impression on stage. Clarke started the first movement impressively with a passage of smooth but melancholy melody, and she was soon involved in a dramatic duet with the orchestra, whose dramatic outbursts were answered by alternately brilliant solo passage work and songful playing from the violin, at one point in duet with oboe and other with woodwinds. The movement ended with Clarke strikingly playing a chord on two strings in high harmonics. The second movement, a Scherzo in the Neapolitan manner, featured a melody of emotional extravagance (dare I say 'schmaltzy'), which Clarke played broadly. She was also impressive in the brilliant violin passage work against the muted trumpet of Michael Ewald. The finale of the Walton has passages that demand deliberately rough playing. Clarke, a violinist of distinctly dramatic and characterful playing, reveled in Waltonðs mercurial shifts from rough to lyrical smooth. After the playing of the last, big, 'smoky' melody, she was greeted with warm applause and a bright bouquet during three curtain calls."
The News-Gazette, Urbana, IL, - April 1999
SYMPHONY AT ITS BEST FOR SEASON
"Mozart's violin concerto no. 3 in G began with an introduction of bubbly effervescence. Pip Clarke's elegant, aristocratic solo entrance provided something of a contrast from that point on, conductor Burns and the Peoria Symphony provided an accompaniment of remarkable crispness and vitality. The second movement is one of Mozart's most heavenly slow movements. It is hard to believe that music this profound was written by a 19-year-old teenager. Pip Clarke found meditative beauty in this movement. Again, unanimity of spirit between orchestra and soloist were remarkable. The third movement was a rondo of abruptly, contrasting episodes. An allegro in triple time included some extremely brilliant violin passage work. A suddenly contrasting andante led to an exuberant allegretto rush before an opening (?) returned with a humorous and ironic twist. Pip Clarke's elegant and flawless playing won her audience applause and a quiet 'bravo.'"
The Times Observer, Peoria, IL, - March 1999
"Was Pip Clarke's dazzling technique responsible for her fantastic performance Tuesday, or was it the amazing quality of her instrument ? Was it the luminous bowing, the passionate phrasing, or a violin with a tone like liquid silk and molten moonlight ? Yes. There was a magical quality to Clarke's lyricism, as if the god's had given her an endless bow. I didn't watch how she did it; I prefer to believe in magic, and be transported. And oh, that fiddle. In Clarke's hands it sobbed, it sang, it soared like a nightingale. Atlanta was treated to an exceptional artist playing an exceptional instrument. Thank you."
The Times, Atlanta, GA, - March 1999
GUEST ARTIST SHOWS EXPERTISE
"Sir William Walton's grand violin concerto was chosen as a showcase for the guest artist's talent. And what a talent she proved to possess. With commanding stage presence and outstanding technical expertise, Ms. Clarke captivated her audience from the outset of the colorful piece. The highly complex concerto is challenging for soloist, orchestra and audience alike. With an intensity of focus that is rarely witnessed in this area, the violinist proved more than equal to the task, delivering a masterful performance. She was ably supported by an obviously well rehearsed orchestra. The audience granted Ms. Clarke a well-deserved standing ovation. Comments heard during the intermission clearly indicated the audience's appreciation of this exceptional musician."
The Hickory Daily Record, NC - March 1999
VIOLINIST PUTS ON MASTERFUL PERFORMANCE...CLARKE THRILLS CONCERTGOERS
"Miss Clarke's hands fly over the strings, her deft fingers producing notes of great clarity. The attractive young violinist, in a sleeveless, low necked gown, exhibited her virtuosity with flowing arpeggios, double stops, a sensitive approach and superb technique. Her notes were definitive, unmuddled - her high notes clean and bright, her low notes melodious and resonant. While the first movement was quite and slower then that of most concertos, there were opportunities for her and the orchestra to shine. The second movement, presto capriccioso alla napolitana, was fast and lively and technically challenging for the soloist. Miss Clarke was equal to the task. On stage, she stood quite still, but her hands and fingers were extremely active. She evidenced an intimate knowledge of her instrument. She showed her brilliance in everything from plucking strings to producing long, smooth strokes."
The Intelligencer Journal, DE - May 1998
"The centerpiece of the evening, William Walton's violin concerto must surely have been new to many of the audience, who probably responded as much to Clarke's playing as to the work itself. Virtuosic from stem to stern but especially in the middle movement, the solo part demanded top agility of Clarke and got it. The piece 'noodles' a good bit , as concerti often do, but music of the time this one 'noodles' in double stops at near breakneck speed. One thrilled to watch and hear all this action, thankfully not as vain glorious display by the soloist but merely to get the music out. She completely served the musical needs - ALL of them!"
Lancaster News, PA - May 1998
"Clarke's performance was dazzling and amazingly nimble. Walton allows the soloist plenty of leeway in the concerto and Clarke did not disappoint. Her playing was assured, warm and rich. She is young but Clarke plays with an amazing amount of confidence."
New Era, DE - May 1998
"To listen to a recording of a classical composition offers one insight into its structure and texture. But to truly appreciate the complexity and drama of a piece , one must see it performed live. Clarke, who emigrated from Britain in 1994, has quickly earned a reputation as one of the premiere violinists of the decade. Comparisons to the legendary Jascha Heifetz are almost inescapable given her dramatically passionate performance style and consistent tonal interpretations. Clarke, a gracious and charming musician of slight build, made the intricate middle section of the Mendelssohn piece appear almost easy, and as the work grew to its tremendous climax she met the challenge with dexterity and poise."
Pioneer Press, IL - February 1998
SOLOIST TREATS CROWD
"..... The charms of the soloist, however, are immediately apparent. While for the non-musician, Walton may not be great listening at first, but with Pip Clarke performing, it sure is fun to watch. Yes, she is a stunner, but not just physically. When she play's, the sparks fly and lava flows. Strokes, attacks, amount of sound, amount of bow, runs, chords, octaves, harmonics and double trills, were all exemplary. This concerto written for Heifetz has it all, and so does she, including impeccable intonation."
The Idaho Statesman, ID - November 1997
PIP IS A PIP
"A commanding guest artist with the Austin Symphony Orchestra. Miss Clarke is now more, considerably more, than a couple of fetching photos in the season brochure and some glowing PR notices. In performing the violin concerto no.2 in D minor by Henryk Wieniawski, she produced a wide range of beautiful, dramatic and rich sounds - and especially, I'd dub her the Queen of the Beautifully Bouncing Bow. In addition to her music, her presence was fascinating. She was a delightful combination of relaxed strength, casual dignity mixed with a sensuality - relaxed stateliness and well-spoken in both conversation and musical performance."
Austin News, TX - March 1997
SUPERWOMAN OF THE STRINGS
"A young violinist from England took the stage of the Fulton Opera House and captured the hearts alike of the audience and the Lancaster Symphony Orchestra, which accompanied her. British-born Pip Clarke commanded absolute attention with every measure she played, and it was all so convincing that the adoring audience could not help but applaud after each movement, 'no-no' though that be."
Lancaster News, PA - January 1997
"Violinist Pip Clarke performed a strong and passionate version of the Sibelius Violin Concerto which comprised the entire second half of the concert. She gave an extraordinary and masterful performance in a work that is both physically and emotionally demanding. Her violin sounded particularly beautiful in the lower registers, and her energy was evident throughout the long piece."
New Era, DE - January 1997
"A brilliant violinist, Pip Clarke gave outstanding performances in the Fulton Opera House. Pip Clarke displayed an excellent command of her instrument and understanding of the music. Her fingers flew over the strings - sure and incisive - and her bowing was firm, her notes clear and her tones quality."
Intelligence Journal, DE - January 1997
"Headlining violinist Pip Clarke closed the evening with the demanding and brilliant Sibelius violin concerto. Clarke is a young artist to be reckoned with. She possesses a top-flight technique and plays with fire and consistency. She is also capable of playing warmly and with emotion. It was a privilege to hear her in Topeka."
The Topeka Capital-Journal, KS - October 1996
"Pip Clarke was the artist chosen for our season opener ... it was great to realize the talent and beauty of the individual. Ms. Clarke's performance clearly indicates why she has been compared to three greats of the violin world (Heifetz, Ricci, Spivakovsky). She possesses a warm, vibrant tone, particularly luscious on the lower strings, which showed to splendid effect in the slow movement. The outer movements revealed her amazing virtuosity, which was always at the service of the music. Our music director made an excellent choice in Ms. Clarke for the season opener."
The Northside Sun, Jackson, MS - October 1996
PHENOM'S GUEST SYMPHONY PERFORMACE FEARLESS
"Some musicians creep into the limelight with their celebrity tucked neatly under their arm. Some dash into town with dazzling style and fearlessness - as did Pip Clarke on Saturday night at the Thomas Wolfe Auditorium. Living up to her reputation, her technique was exemplary and her tone brilliant as she pushed past her own limits."
Asheville Citizen Times, NC - October 1996
"... a level of success that most concert violinists can only imagine. In the world of classical music, Pip Clarke is a superstar. ... a veritable lioness of a woman in a low-cut, red and black blouse stared back with sultry conviction - her steamy gaze is hard to meet even on newsprint. What is inside the package ? Listen to selections from Romantic Violin Showpieces or to Clarke playing Korngold's violin concerto and there's never any doubt. She plays powerfully, almost ferociously at times, but the energy is not raw and unrefined, it's well-honed - developed and disciplined by years of practice and study. So forget the soft-focus photography, star-makeup treatment and the sultry smiles - it's 'what's inside' that's earned her the title of virtuoso."
Mountain Express, NC - October 1996
"British violinist Pip Clarke was the featured soloist for Korngold's Violin Concerto, an impressive three-movement work. Clarke's performance shone - her beautiful, ample tone was perfectly suited to this romantic work written in 1945. Clarke was also soloist in a particularly engaging reading of John Williams' 'Remembrances' from 'Schindler's List.'"
The News & Record, NC - April 1996
FLAWLESS DISPLAY FROM SOLOIST!
"Pip Clarke gave a dazzling display of virtuosity last night at the National Concert Hall. She was the soloist in Korngold's Violin Concerto with the National Symphony Orchestra (of Ireland). It was written for Heifetz and Pip Clarke handled its forceful virtuosity with gripping panache and with a technique which seemed flawless. This was a winning performance."
The Irish Times, Dublin, Ireland - January 1996
"Great expectations can come true. Eye contact and cues between Maestro and soloist appeared to be excellent and the timing between orchestra and soloist flowed; it wasn't on exact beat (it was breathing and most natural as if the music wasn't even being performed by musicians), it was just there in the evening air. Exquisite. The violinist's soft, sensual passages were fluid and shimmering, the gutsy 'Hey I can play' cadenza passages were high voltage, full of electricity. This lady can play. Perhaps it is her bowing technique which is the difference, perhaps it is her extremely small fingers, or perhaps it is her mind fused with the music and the delivery. Who knows ? Someone upstairs gave Clarke an extraordinary talent to share with us mortals. She doesn't sound like anyone I have heard in the concert hall, on record or on CD. As far as I am concerned, concert artists are like fine bottles of wine. When you hear Itzhak you have a bottle of Perlman, when you hear Andre you have a bottle of Watts, and when you hear Pip, you have a nice bottle of Clarke. What a treat, what a day !"
The Columbia Missourian, Missouri - July 1995
IN PERFORMANCE AS RECITALIST IN EUROPE...
"Sheer delight ! Dazzling playing ! ... She charmed her audience with all the sweetness and languor with which Bach had invested in the D minor Partita. .... Beethoven Sonata ... one of the most expertly played Allegro moderatos I have ever heard."
News - Manchester, England
"Quality on the menu !"
Telegraph - Grimsby, England
"....... the Sonata in G minor by Debussy .... the lyrical and poetic nature being given full range of tone color and especially so in the rich lower register of the violin with her sonorous sound .... the 'Faust' Fantasy by Wieniawski .... a thrilling and exciting performance. Although a showpiece, it never became unmusical, even when the waltz theme reached what seemed like impossibly high notes for the violin and the gymnastics of double stopping and octaves came thick and fast. Excellent."
Times - Halifax, England
"Her Mozart was charmingly played .... perfect rapport ... the Havanaise by Saint-Saens and the Carmen Fantasy by Sarasate .... both pieces had the audiences' rapt attention, the romantic moods of the Havanaise were beautifully captured and Miss Clarke's superb technique - especially evident in the very taxing virtuoso passages of the Carmen Fantasy - brought the recital to a thrilling conclusion."
Herald - Farnham, England
"... music which gave the soloist the opportunity to dazzle us with her technique ... an experience."
Times - Grimsby, England
"Brilliant playing. A memorable performance."
The Herald - Farnham, England
"A feature of her playing, apart from the splendid instrumental technique which she possesses, was the fine musicianship. Miss Clarke shows both strength and sensitivity in her playing. She is a true musician and her technique is outstanding. What we were offered was 'real Beethoven', a concert to remember."
The Times - England
ON RECORDINGS...
After A Dream - CD# CJL 0102 (Classic Jewel)
"Southern California based and English born, violinist Pip Clarke is a self-proclaimed romantic, so it comes as no surprise that the most recent compositions here date from the early 20th Century. This is a collection of short, lightweight pieces usually played today as encores. While they are disparaged in some circles today, mastery of this repertoire is essential for developing the ability to find a work's character and to establish and maintain a mood. Clarke is very good at this. Right in the first piece, Fauré's "After a Dream", we hear her sumptuous tone and flexible vibrato. Benjamin Godard's lovely Berceuse from Jocelyn follows, and she shows again her finely cultivated sensibility. All of the works on this release are of slow or moderate tempo, but Clarke is such a skilled interpreter and technician that we never tire of listening. The last CD we reviewed of Clarke's was her first (Sept/Oct 1994); 13 years is too long to wait."
American Record Guide - May/June 2007
Romantic Violin Showpieces - CD# CJL 0101-2 (Classic Jewel)
"Pip Clarke obviously relishes the instrument's unique personality, which can present a down-to-earth character in the extrovertisms of the Carmen Fantasie and a highly sensitive, even caressing romanticism in Saint Saens and Tchaikovsky. ... an admirable introduction to an extremely satisfying and stimulating program. Kreisler's unaccompanied Recitative and Scherzo Caprice is projected with a sense of inspired improvisation which has remained after several hearings. The double-stopping is so assured that the individual voices make individual contributions to the overall conception, a quality further advanced in one of the most compelling accounts on record of Chausson's evocative and moving Poéme. Indeed, I would strongly recommend the disc for the Poéme alone."
Denby Richards - March 1996
Editor and senior critic - Musical Opinion, U.K.
"Record reviewers sometimes stumble onto a new star performer and that is what happened with the arrival of violinist Pip Clarke's virtuoso collection, Romantic Violin Showpieces on the Classic Jewel label. Clarke, who is British, young and glamorous - not necessarily in that order - matches the best playing of the new school of virtuoso performers. Midori and Sarah Chang are no better, which is shocking, considering Clarke has remained in their shadow. Her technique is complete, with a tight brilliance of tone close to that of Heifetz's. (Indeed, I had a professional string player walk into my listening room as Clarke's recording was playing, and asked 'Who's that, Heifetz?') She can melt a lyric line with sweetness, but the pinpoint passage work has the fierce intensity of Heifetz. Above all, the tasteful musicianship possesses impeccable precision. There's dignity on this disc, as well as craft. Of late, Clarke has been conquering the United States, to rave reviews. Clearly, those are deserved."
In Tune Magazine - USA
"Her technique is exemplary... passage work in these very difficult pieces is always clean, clear and exciting."
American Record Guide - USA
"There is a gutsy fearlessness to her execution; in a program of hard pieces she favors fast tempos ... she blazes impetuously through the Waxman and the last movement of the Saint-Saens sonata with plenty of dash and brio - she's no mere purveyor of bland, unruffled, unengaged precision. Holshouser, pianist of the Houston Symphony, works hand in glove with Clarke in presenting a 'knock 'em dead' perspective that I associate with Ricci or Spivakovsky. Her recording does convincingly convey that she is a performer who doesn't hedge her bets: this Pip can play."
Fanfare Magazine - USA