Stay inspired this weekend, and practice hard! I will be trying to do the same…

Beginnings
Rachel started begging her parents for a violin at the tender age of three, after having been entranced by the sight of “older girls in beautiful dresses who were playing violin at church.” But after setting bow to strings for the first time, it was no longer just about the dresses: “Initially, it was the sound of it I loved,” she says. “Its voice spoke to me as if this were preordained somehow. By age five, I knew this is what my life would be about: I was already defining myself by my instrument.”

Imagine having such clarity of purpose by the age of five!

Formative years
Rachel’s family opted to home school her, giving her enough time to do schoolwork, practice eight hours a day, and still have a social life. Her family struggled to make ends meet, but their choice to let Rachel pursue music paid off: by the time she was 14 her her violin playing was responsible for the lion’s share of the family’s income.

I was responsible for the mortgage, the utilities, the groceries, and there was so much pressure, growing up like that. … When I was 17 or 18, even if I had gotten a full scholarship, I certainly wouldn’t have been able to be in school and continue to work enough to … support the family.

Rachel first performed as a soloist at age seven, and by age 10 she had appeared with the Chicago Symphony Orchestra. Her teen years saw her win loads of prestigious international competitions. For example, at 17 she was the youngest person (and first American) to win a gold medal in the J.S. Bach International Competition in Leipzig, Germany in 1992. Since then she has enjoyed a successful career as a concert soloist and recording artist, playing one of the world’s most important violins, the 1742 “ex-Soldat” made by Guarneri del Gesu.

Overcoming setbacks
Rachel is also an inspiration for the way she bounced back after “the Metra incident.” As she was exiting a Metra commuter train one day in early 1995, the train’s doors closed on the strap of her violin case. Remotely controlled and lacking safety sensors, the doors remained firmly closed. Clutching her violin — a 400-year-old Amati valued at about a half-million dollars — Rachel was dragged 366 feet before she was pulled under and run over. The accident severed one leg above the knee and severely injured the other.

But did this stop her? No way. After taking two years off to recover from her injuries, Rachel successfully resumed her professional career. In 1999 she took Metra to court. Metra’s defense argued that it was her own choice to not let go of her valuable violin, so her injuries were mainly her own fault. However, the jury didn’t buy it, and awarded her $29 million in damages. (Metra subsequently changed the door mechanism on its trains and revised its conductor safety procedures.)

Recommended recordings
Rachel has recorded numerous CDs, but there are two that may be of particular interest to P.L.A.G. readers:

Stringendo: Storming the Citadel contains Rachel’s original arrangements of rock and metal classics, including Led Zeppelin’s “Stairway to Heaven” and Metallica’s “One.” Rachel’s notes on this recording include the following observations:

The rock world is not as far removed from the classical world as many people assume…Many rock artists were trained classically, and classical heavily influences their compositional style. Marty Friedman, Kirk Hammett, and Slash, among others, listen often to classical music. (Marty told me that his favorite instrument is the violin!)

Many metal musicians (Van Halen, Man O’War, King Diamond, Rainbow, Judas Priest, Accept, etc.) include actual classical quotes in their compositions…The harmonic influences come from sources including blues and classical, and the structures of tunes like “The Spirit of the Radio” and “One” are quite sophisticated, much more so than in a typical pop tune.

My favorite rock bands always fully express the emotions they are portraying with their music and try to share those feelings with the audience. These musicians inspire me to reach for that level of communication in my performances of classical music, with its more varied emotional palette.

Instrument of the Devil is a classical follow-up to “Stringendo,” featured a collection of diabolically dark pieces for solo violin, such as The Mephisto Waltz, The Devil’s Trill, and Danse Macabre. On her website, Rachel explains that “The album’s liner notes tell the fantastic stories behind each piece and describe the violin’s centuries-old associations with the macabre. It was said that Paganini must have sold his soul to the devil to gain the ability to play all of those fast notes. But don’t worry, I just practiced a lot!”

You can learn more about Rachel Barton Pine by visiting her website, her Myspace, and her Youtube channel. Make sure to check out the photos of Rachel and her rock idols in her photo album.