Classical Music

Classical Music

Classical Music

Classical Music

Classical Music

Classical Music

Classical Music

Classical Music

Classical Music

This new release is the sixth volume in a series profiling the work of Augusta Read Thomas. Called “a true virtuoso composer” by The New Yorker, Augusta Read Thomas is a member of The American Academy of Arts and Letters and Academy of Arts and Sciences, and she has become one of the most recognized figures of American music. Performers on this album include the Parker Quartet, Third Coast Percussion, Spektral Quartet, violinist Nathan Giem, Aurora Orchestra, Nathan Cole, and Clair Booth.

Classical Music

Classical Music

Perhaps the most well-known direct comparison between both the Brahms and Bruch violin concertos comes from Hans von B�low, who commented that while Bruch had written a concerto for the violin, Brahms had composed one against it. And while this is perhaps a little harsh toward Brahms, one can see von B�low's point: Bruch uses the orchestra to support his soloist, while Brahms attempts to treat both soloist and orchestra as equals. Comparisons aside, both concertos are towering examples of the genre that are, and will remain, firmly established staples of concerto repertoire.

Hannah Mathilde von Rothschild was born in Frankfurt on the 5th of March 1832 and showed her musical talent early, being an excellent pianist and composer. Mathilde spent her childhood between Vienna and Frankfurt, and was greatly encouraged in her musical studies by her mother who brought her children up to be trilingual and to have a deep appreciation of art and music. Frédéric Chopin was a frequent performer at the salon of James and Betty de Rothschild, in rue Laffitte in Paris, and taught various Rothschild ladies, including the 16 or 17 year-old Mathilde who would have taken lessons from him during one of her frequent visits to her cousins. Rothschild’s international lifestyle results in a rich and varied collection of songs; the genre of song provided the ideal vehicle for Rothschild’s thorough understanding of languages with sympathetic yet astute settings of French, German and English texts. In 1867 the esteemed musician Sir Charles Hallé told Louisa de Rothschild that ‘no-one can have any idea of your cousin’s rare and delightful talent; her compositions are charming, full of tender grace and sparkling originality.’ She was asked by many leading singers to compose for them, including Christine Nillson, Selma Kurz and Adelina Patti. Here, her composition Komm, geh'mit mir in's Waldesgrün is presented.

Classical Music