At the age of 25, violinist Esther Abrami realized that none of the hundreds of pieces she had played were made up of women. The results of his change trip are on his new album, Women.
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The first time Abrami has seen a violin, she was only three years old. She did not know at the time, it would be the beginning of a love story for life.
The instrument belonged to the end of Abrami’s grandmother, Françoise.
“She abandoned the violin when she got married,” said Abrami, now a rising violinist who has turned through Europe and China. “I sort of took where she left and continued.”
Abrami translates this story of inspiration in “Transmission”, its first recorded composition, as part of a new album last Friday. The arrow melody has a cinematographic feeling, occurring with surveyed chords accompanied by the Vienna Radio Symphony Orchestra.
“It is a composition that I feel very emotional, and recording it was also very special,” Abrami told Michel Martin of NPR.
The album Women Includes the global studio recording of the Irish composer in Boyle’s Violin Concerto (1935), which evokes bucolic scenes with the feeling of a poem of tone.
Boyle was largely forgotten, something she shared with several of the 14 composers and songwriters of the album, including Chiquinha Gonzaga du Brazil (1847-1935) and Teresa Carreño du Venezuela (1853-1917).
And so it is rather than the orchestra work on the album be carried out by Irene Delgado-Jiménez, who recently finished a two-year scholarship in the driver’s incubator led by Marin Alsop, the first woman to direct a large American orchestra.
Among the living composers of the album are the winners of the Oscars Rachel Portman and Anne Dudley – who are both British – Miley Cyrus via an arrangement of “Flowers” and Yoko Shimomura with his “waltz di fantastica”, a theme of the Fantasy XV video game.
Violinist Esther Abrami is monitoring a recording session for her new album, Women.
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After completing his studies at the age of 25, Abrami realized that “during all these years, I learned hundreds of pieces, but not only one of them had been written by a woman,” said Abrami, now 28 years old. “And then I started to make my own trip and my own research, and it was like opening the door of a hidden treasure.”
The Boyle teacher, Ralph Vaughan Williams, one of the most famous British composers of the beginning of the 20th century, would have said to him: “I think he is very courageous on your part to continue with so little recognition. The only thing to say is that it sometimes comes.”
And it is perhaps the interest of the last registration company of Abrami.
“I hope that in 10 years, it will not be necessary to have an album entitled Women“She said.” But for the moment, we still have to do a lot of things, to push so much so that we can even get to something that is about to be equal in terms, for example, of works by women. And we are so much, so far. “”
Last year, the Foundation gives, which keeps a trace of women in classical music, found that the number of works by female composers interpreted by global orchestras had slightly dropped the previous season at only 7.5% of the repertoire.
Abrami said that part of the reason she was active on social networks is to try to change these figures and inspire young budding musicians. “I see the impact that has on the little girls … The little girls who came to my concerts and said that my social networks and my videos on YouTube inspired them to start the violin, now they come to say to me:” I played a piece composed by a woman, I asked my teacher to play a song composed by a woman. “”
Violinist Esther Abrami says that the search for works composed by women was “like opening the door of a hidden treasure”.
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Composers like Pauline Viardot were renowned in their time, reduced to a reflection after the fact that after their death. Abrami describes the singer-songwriter as an influencer in the musical circles of the end of the 19th century. Viardot was a first champion of the works of his contemporaries like Georges Bizet, including his Carmen – Today, one of the most frequently interpreted operas, but badly received in his first of the months only before Bizet’s death.
“She organized concerts and parties in her Parisian apartment. All the great figures of the world of culture knew her at the time. She was very good friends with (writer) George Sand, but also Chopin and Clara and Robert Schumann, and all these people came to them to play with her, to see her,” said Abrami.
Abrami has the survivors of the Holocaust among his grandparents, and for International Day of Souvenir of the Holocaust this year in January, she published “Wiegala” by Ilse Weber as a single. The haunting lullaby was written by Weber, a poet who served as a pediatric nurse in the Theresienstadt concentration camp in the current Czech Republic.
“To calm the children she was dealing with, what she was doing was to compose music and sing with them,” said Abrami. When the children of the camp were sent to Auschwitz, Weber accompanied them voluntarily. “It is known that just before going to the gas chamber, one of the last songs she sang with the children was” Wiegala “.” Abrami’s paternal great-grandfather was also killed in Auschwitz.
The lullaby only survives today because Weber’s husband had hidden his poems and his scores in Theresienstadt and had recovered them after the war.
The released version of this story was produced by Barry Gordemer. The digital version has been modified by Majd al-Waheidi.
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