I am humbled by this opportunity to compose an octet to celebrate the opening of the Tanglewood Center for Music and Learning. The title MAGIC BOX hopefully captures the lively spirit, exquisite creativity, motion, enchantment and positive energy of the Center. I love composing. In a good way, my nerve endings for sound are always dialed up high - actually, they are on perpetual alert. If I hear one note or chord or if, for example, I play one on an instrument, I get lit up as if electric shock ribbons instantly race from my ears and fingertips to my imagination and then my creativity and craft play high-speed ping-pong! Where the ball is bouncing back and forth 100 times a second. The outcomes are unpredictable to me. I stay absolutely flexible. Everything is malleable, springy, stretchy, coil-able, color-able, twistable, bouncing, zig-zagging, and splinter-able. It feels like I am dancing with contrapuntal flickering sonic lights that accumulate into a spinning pinwheel spawning sound and form. I slide, skate, swivel, and spin with my materials - crafting nuance and finesse - and then I sculpt, shape, chisel, fashion, and form. At the end of all of that, I feel as if the piece wrote me - not as if I wrote the piece! My music has it's own inner life. If I listen carefully, the piece I am composing will tell me what it next needs. (Augusta Read Thomas, transcribed from the Miller Theatre at Columbia University MISSION COMMISSION Podcast interview)

Though some of Rebecca Clarke's most successful pieces feature the piano, such as her Viola Sonata (1919), Rhapsody for Cello (1923), and Piano Trio (1921) and her writing for the instrument in those scores is both idiomatic and inventive, she only wrote a handful of solo piano pieces, all present in this publication. Clarke's Theme and Variations (1908) is her most extended piano work. The piece dates from the time of her studies with Charles Villiers Stanford at the Royal College of Music, and it won her a Council Exhibition, a cash prize covering half her fees for the year. Rebecca Clarke's natural melodic gifts are already in evidence throughout this score, which is enlivened by wit and charm and graced with an inner strength and poise. Rebecca Clarke met the composer William Busch at various musical and social events from 1927 to 1937. On 13 July 1932, he mentions in his diary trying out a piece by Clarke and receiving 'good advice from Rebecca over her piece'. The piece, which Busch was premiering, was a short work entitled Cort�ge that Clarke had written for Busch in 1930. The constantly shifting chords create a gently exotic, Impressionistic atmosphere. During her marriage, from September 1944, to the American pianist and composer James Friskin, Clarke wrote only one original composition, the song, God made a Tree, to a text by the violinist Katharine Kendall, and two arrangements. One of these 'He Hath filled the Hungry', is a near-literal transcription for solo piano of the aria 'Esurientes implevit bonis' from Johann Sebastian Bach's Magnificat, BWV 243. Though the score does not bear a date, it is believed to date from the mid-1950s. The work is characteristically grateful to play, the flowing lines falling easily under the fingers. (Paul Conway)

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. Fr�d�ric 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 Hall� 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. Her most famous song Si vous n'avez rien � me dire, was written for her friend Adelina Patti, who often sang this as an encore and made a recording of it in 1905.

Augusta Reed Thomas writes of her work Clara's Ascent for string orchestra: "Clara's Ascent for string orchestra (or string quartet) features the solo cello in a lyrical and intricately contrapuntal work. The cello serves as protagonist as well as a fulcrum point, on and around which the other player's musical force fields bloom, rotate, and proliferate. Although highly notated, precise, carefully structured, soundly proportioned, and while musicians are elegantly working from a nuanced, specific text, I like my music to have the feeling that it is organically being self-propelled -on the spot - as if we listeners are overhearing (capturing) an un-notated improvisation. This short work celebrates the manner in which the musicians embody sound. Musical transformations and carefully crafted connections unfold with a natural impulse. An optimistic, flexible-sounding, sonorous ascending journey weaves itself forward as if it is spinning innately out of their instruments. In the most general of terms, the form of the work is a 6-minute crescendo during which the soloist moves from the very lowest notes up to the highest possible, reaching as if the soloist is trying to kiss the sky. On the occasion of the 200th anniversary of the birth of Clara Schumann, this work honors the legacy and contributions of a pioneering performer, caring collaborator and artistic confidant."

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. Fr�d�ric 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 Hall� 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. Her most famous song Si vous n'avez rien � me dire, was written for her friend Adelina Patti, who often sang this as an encore and made a recording of it in 1905.

Richard Blackford writes: "Canticle of Winter was written in the village of Blewbury, Oxfordshire, where I live, during the winter of 2019, and was inspired by the last stanza of Robert Frost's poem Stopping by Woods on a Snowy Evening. The sense of restlessness, of something unresolved, despite the beauty of the winter landscape, permeates the music. It is written in rondo form, and the first theme, soft, sustained and melancholic, is contrasted with rhythmic string writing against which the saxophone plays exuberant flurries of notes, as if improvised. The dynamic range of the entire piece is from ppp to barely more than mf, and it is the soft, plangent sound of the soprano saxophone that evokes the stillness of the winter night and the traveler's journey through it. Canticle of Winter was first performed on October 19th.2019 by the Bournemouth Symphony Orchestra at Cadogan Hall, London, conducted by Gavin Carr. The soloist was Amy Dickson, to whom the work is dedicated."

Thanks to the tireless advocacy of the pianist Simon Callaghan, the music of the Derbyshire-born Roger�Sacheverell�Coke has started to emerge from the obscurity in which it has languished since the composer's death in 1972. Despite showing considerable early promise, Coke remained an outsider in British musical life. His three cello sonatas frame the years 1936 to 1941 a very productive period in Coke's life. The second cello sonata in C major op. 29 coincides with a decisive moment in Coke's compositional development. While in the throes of composing the sonata in October 1938, Coke decided to destroy of a number of early works he now regarded as immature - notably his first symphony and first piano concerto - an action reported in the Sheffield Telegraph (11 October 1938) presumably after a tip-off from Coke himself. Perhaps for this reason, the work seems to have held a�particular significance�to the composer. The sonata opens in declamatory style with an insistent theme introduced by the cello with forceful piano accompaniment, immediately�signaling�a wide emotional range and a more dynamic relationship between the two instruments.

Founded in 2009, Trio Shaham Erez Wallfisch is made up of three of the best classical musicians performing today: violinist Hagai Shaham, pianist Arnon Erez, and cellist Raphael Wallfisch. Alongside the trio, performs the Staatsorchester Rheinische Philharmonie, conducted by Daniel Raiskin. For this two disc release, the works of Brahms have been chosen.

This recording focuses on romantic works from the 20th century that deserve greater recognition. Most are original, and include fine examples from Russia, America, Hungary, Argentina, and Great Britain. Featuring Nicholas Bayley on double bass and Geoffrey Duce on piano.

One of the most versatile and compelling musicians of the modern day, pianist and conductor Vladimir Feltsman boasts a vast repertoire ranging from the Baroque era to contemporary compositions. Feltsman regularly performs as a guest soloist with the best symphonies in the US and abroad, and has garnered acclaim at the most prestigious music festivals across the globe. Feltsman has recorded extensively during his career, including albumsof works by Bach, Beethoven, Schubert, Chopin, Liszt, and more. This three disc set features works by virtuosic piano composer Robert Schumann. This release follows Feltsman’s well-received “Album for the Young,” also featuring works by Schumann.

This delightful program of Japanese song is presented by renowned soprano Charlotte de Rothschild, joined by the City of London Sinfonia. Charlotte was first introduced to the beauty of Japanese music during her first visit to Japan in 1991. She learned Karatachi no hana (Quince flower) by Kohsaku Yamada for use as an encore piece, and the reaction she received from the audience led her to take on further Japanese repertoire exploration. “…I discovered the joys of kakyoku- their version of art song and of dou-you- a kind of traditional song. I know that the wonderful orchestration created for these songs, which were original written with piano accompaniment, lifts them to a whole new level…” (Charlotte de Rothschild)

The 33 Variations on a Waltz by Diabelli, Op. 120, commonly known as the Diabelli Variations, is a set of variations for the piano written between 1819 and 1823 by Ludwig van Beethoven, on a waltz composed by Anton Diabelli. It is often considered to be one of the greatest sets of variations for keyboard, along with J.S. Bach's Goldberg Variations.

Hideko Udagawa has performed extensively throughout the world and captivates international audiences with her artistry and enthusiasm. Critics have acclaimed her performances, commending her passionate commitment, dazzling agility and refinement of taste.

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 Seitdem du mich verlassen is presented.

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 Am See is presented.