Clarissa Bevilacqua writes: “Dear Listener, Welcome to Dream Catcher, an album that journeys through ten unique compositions, ten bewitching stories that lead us away from the constant Rush of everyday lives… As a new artist in the industry myself, I feel a certain calling to break this pattern by championing and performing works that reflect our present instead of our past, and by striving to surprise my audiences with music that they can discover and even relate to. This debut album is my first of hopefully many projects that strive to achieve this, and it is also my reply to all those people who believe classical music is a thing of the past. I met Augusta Reed Thomas by total surprise about five years ago in Chicago, where I was performing a recital that included her “Capricious Toccata: Dandelion Sky”. It was the first time that I had had the opportunity to discuss a piece of music with the actual composer, and I became absolutely fascinated with the world of possibilities that such a dialogue can lead to. I instantly started to study other works of hers, and began programming them in several of my recitals throughout the years. The more I performed these pieces and became familiar with Augusta’s compositional style, the more I felt myself wanting to create something tangible and long-lasting with these works. And thus, at the beginning of the global pandemic a few years ago, the idea for this album was born. This album features Augusta’s complete works for solo violin, as well as the world premier recording of her Violin Concerto No. 3 “Juggler in Paradise”…”

REVIEWS:

This first recording by violinist Clarissa Bevilacqua shows her desire to introduce new music to the public...Thomas studied with Oliver Knussen and Pierre Boulez. Among many other prizes, she has been awarded the Polar Music Prize. Her music is spirited, engaging and much focused. In other words, she knows how to express herself in small forms...The nine individual pieces, each lasting from two to six and a half minutes, nevertheless produce small narratives that appear to be a framed picture, but do not take on the format of imposing tapestries. The Third Violin Concerto is her most extensive work of this kind to date.

Read Thomas knows how to always let the violin take the lead. She channels the many possibilities that arise from the instrumentation into small splinters and phrases. In doing so, she avoids covering up the solo instrument.

And yes, all the pieces use a modern tonal language and yet are of such an appealing nature that listening is easy...The violinist Clarissa Bevilacqua knows very well how to bring out this light and descriptive character with elegant playing and nimble technique. She gives each movement its own character, making this collection a small gallery. For the Violin Concerto, BBC National Orchestra of Wales and conductor Vimbayi Kaziboni offer their delicately subtle support. With deliberate focus, they reveal aspects of the percussive elements as well, for example, setting painterly points of light.

-- Pizzicato

By the time Stanford had received a commission from the Norfolk and Norwich Festival to write a choral work for them in 1884, he had, at the age of 32, already begun to assert himself as one of Britain's leading composers. The Elegiac Ode was, however, his first mature foray into the world of major British choral festivals. Some of the Elegiac Ode had in fact been sketched three years earlier in 1881, but after the Norwich commission was received, Stanford evidently grasped the opportunity to complete the work in it's entirety in July 1884. The words were taken from the last part of Whitman's elegy, 'When lilacs in the dooryard bloom'd', written in the aftermath of President Lincoln's assassination in 1865 (it was a text which Stanford's pupil, Holst, later used for his Ode to Death, composed in the wake of the war in 1919). Taking the seven verses of the burial hymn, Stanford divided his chosen text into four parts, thereby creating a four-movement musical structure more akin to a choral symphony with it's substantial (and thematically related) choral outer movements flanking two shorter inner essays. By the time Stanford had received a commission from the Norfolk and Norwich Festival to write a choral work for them in 1884, he had, at the age of 32, already begun to assert himself as one of Britain's leading composers. The Elegiac Ode was, however, his first mature foray into the world of major British choral festivals. Some of the Elegiac Ode had in fact been sketched three years earlier in 1881, but after the Norwich commission was received, Stanford evidently grasped the opportunity to complete the work in it's entirety in July 1884. The words were taken from the last part of Whitman's elegy, 'When lilacs in the dooryard bloom'd', written in the aftermath of President Lincoln's assassination in 1865 (it was a text which Stanford's pupil, Holst, later used for his Ode to Death, composed in the wake of the war in 1919). Taking the seven verses of the burial hymn, Stanford divided his chosen text into four parts, thereby creating a four-movement musical structure more akin to a choral symphony with it's substantial (and thematically related) choral outer movements flanking two shorter inner essays. Stanford's large-scale setting of the Te Deum Op. 66 was first sung at the Leeds Festival on 6 October 1898 and it's ambitious, opulent dimensions were clearly intended to be a fitting commemoration of the accession to the throne of Queen Victoria (it's dedicatee) sixty years earlier as well as a tribute to the full-bodied, well-trained Leeds chorus of 350 singers. A particular feature of the Te Deum is the grandeur of much of it's choral writing. Though also dramatic in it's impact, a dominating feature of the Te Deum is it's prominent use of the chorus, and the many fulsome sonorities Stanford was able to draw from the magnificent 'instrument' of the Leeds voices. © Jeremy Dibble

Antoni Gaudí’s monumental temple La Sagrada Familia is a universe within a building. Its mass of stone and metal is bathed in coloured light diffused from dazzling stained glass windows. The colossal structure is supported by great pillars inspired by the shapes of tree trunks that re-inforce the impression of a spiritual forest. Around the main access points to the basilica are three great facades; Nativity, Passion and Glory. Each is a visual world unto itself, stylistically apart yet united by Gaudí’s grandiose vision. These three facades are the inspiration of my three-movement La Sagrada Familia Symphony. The visual journey, from the representational to the abstract, is something I also tried to mirror in the music. When I visited La Sagrada Familia in October 2019 there was still scaffolding to support the work on the remaining towers. Whereas my symphony is inspired by that monumental building, I hope that my musical structure can stand alone as an homage to Gaudí in its own right. The two parts of the cantata begin similarly, presenting first the children of Seth - then in the second part, the children of Noah. Realizing that the aftermath of the destruction of the Tower of Babel could be anti-climactic, I left part of the Noah story unfinished at the end of Part I, and concluded it as an Epilogue. I wanted God’s promise to be the note on which the work should end, a message of hope that the divinity would protect His creation throughout the seasons: “While earth remains, seedtime and harvest, cold and heat, summer and winter, and day and night shall never cease.” These beautiful words are taken up by the choir and soloists contrapuntally and lead directly to the hymn: Praise My Soul The King Of Heaven, whose melody was woven into the closing section of Part One. Following Britten’s inspiration in Noye’s Fludde and St Nicholas, I invite the audience to join in the hymn, celebrating creation and the world that has been entrusted to us. Babel uses the chorus extensively to narrate both stories, as well as to evoke the terror of the flood and the exuberance of the construction of the tower. In addition to set pieces, such as the Nimrod baritone aria, and the soprano aria, “Do not fear the largeness of the showers,” the three soloists often sing together in close harmony as the other-worldly voice of God. The instrumental forces are relatively modest, with the piano duet supported by the sustaining power of the organ, backed by two percussionists. This sound world is redolent of those Britten masterpieces for amateur choirs, ensembles and audiences, which have inspired many composers since, and to which I too am gratefully indebted.

Gordon Jacob’s Piano Concerto no.2 in E flat was completed in 1957 and premiered on 11 July of that year at the Winter Gardens, Bournemouth by the soloist Edith Vogel. A Proms performance took place at the Royal Albert Hall on 9 August 1957 with the same soloist. A review in The Times of the 1957 Proms performance of Gordon Jacob’s Piano Concerto No.2 declared that ‘the composer’s masterly understanding of the orchestra enables him to express each idea economically and in the most clean and attractive colours’, while The Sunday Times’ critic wrote that, ‘having taught the craft of orchestration to a whole generation of composers, Dr. Jacob is himself a past master at clear and effective scoring’.

Addison’s Variations for Piano and Orchestra was written in 1948 and revised the following year. According to Alan Poulton’s Dictionary-Catalog of Modern British Composers, It was first performed in a BBC broadcast in 1960 by Margaret Kitchin. The work is written for a small orchestra, comprising double woodwind, four horns, a pair each of trumpets and trombones, bass trombone, timpani, modest percussion and strings. Though the piano had played a prominent role in an earlier student piece by Rubbra, his Piano Concerto, Op.30 (1932) is the composer’s first fully-fledged, large-scale work for soloist and orchestra. The score features an elaborate solo part and requires substantial orchestral forces.

'If you want to know who, for me, is the greatest living composer, I'll tell you without hesitation - it's Elgar, whom I place on the same level as my idols Beethoven and Brahms!' So said the great virtuoso Kreisler.' Nicolas Dautricourt continues: 'This Concerto, with it's unbridled lyricism and unique proportions, is an Everest for any violinist.' In this, his first recording for Channel Classics, the French violinist brings together three works by two English composers. In 1888, in the same year Elgar wrote the famous Salut d'amour for his fiancee Caroline Alice Roberts, Frederick Delius composed his Suite for Violin and Orchestra, one of his very first works. The Suite, which only received it's premiere in 1984, is heard here in this insightful arrangement by Frederic Chaslin for violin, piano and string quartet.

Smaller concertos for piano and modest orchestral forces were a feature of British composition in the first half of the 20th century. Often they were written for a special occasion, and typically vanished into oblivion thereafter. During the COVID period we were looking for things to record with small numbers of players, and stumbled across this treasury: short concertos written for entertainment that don’t outstay their welcome. The works on this album travel from the innocent pastiche of Geoffrey Bush’s tribute to Arne, Edmund Rubbra’s student essay, through the ‘Blues’ of Arthur Benjamin, the serial language of Humphrey Searle, the drama of Elizabeth Maconchy, and the bold humour of film composer John Addison. It is all great fun, and has never been recorded - apart from the Benjamin recorded just once, back in 1959.  Simon Callaghan and Martyn Brabbins team-up to raise a smile, enjoying the lighter side of musical life.

“Eleanor Alberga was born in 1949 in Kingston, Jamaica. Her mother founded, and subsequently ran, her own high school in Jamaica and believed passionately in the Arts. Consequently, Eleanor was introduced to classical music at an early age. As a teenager she had piano lessons at the Jamaica School of Music and in 1968 she won the biennial Royal Schools of Music Scholarship for the West Indies, which she took up two years later at the Royal Academy of Music in London, studying piano and singing. 2001 was a turning point when she was awarded a NESTA Fellowship and chose to give up her career as a concert pianist and concentrate full-time on composition. Her distinctive creative output encompasses instrumental, chamber and orchestral pieces, as well as works for stage and film. With its vibrant rhythms, rich harmonies and idiomatic writing for every instrument, her music has the authentic stamp of an experienced performer and an accomplished executant.” (Paul Conway)

Classical Music

Classical Music

Classical Music

Recorded in: Brangwyn Hall, Swansea 7-8 October 1997 Producer(s) Ralph Couzens Sound Engineer(s) Ralph Couzens Richard Smoker (Assistant)

Recorded in: Brangwyn Hall, Swansea 13,14 February 1994 Producer(s) Mike George Ralph Couzens Sound Engineer(s) Ralph Couzens Richard Smoker (assistant)

Classical Music