Dream Catcher, an album that journeys through ten unique compositions, ten bewitching stories that lead us away from the constant Rush of everyday lives and into a colorful, musical, idyllic experience. When I set out to record my debut album, I wanted to select a concept and a program that mirrors who I am now, while also setting the tone for the type of artist I want to be going forward. When you dedicate your life to an instrument as challenging and versatile as the violin, there is no shortage of repertoire from which to choose from; and yet, the vast majority of albums out there cater to a very specific, restricted niche of composers and their most well-known works. This can often give our audience the impression that classical music is somehow a stagnant, old-fashioned art-form, when in reality it is a constantly evolving organism, driven by thousands of inspiring and innovative creators.
This album features Augusta’s complete works for solo violin, as well as the world premier recording of her Violin Concerto n. 3 “Juggler in Paradise”. Each and every piece has a different character and tells its own story, and these seemingly unrelated, abstract pieces of a puzzle come together during the course of the album to create a dream-like journey. Augusta herself illustrates this concept perfectly when she describes her process of composition as “living inside of a poem.” She says, “I think of myself, and have been described as, a poet-composer. I sculpt my music akin to how poets create, refine, and polish their works. Poetry can give language to the ineffable: likewise, music is akin to an infinite alphabet.” – Clarissa Bevilacqua
The present release in this ongoing recorded survey of the works of Augusta Read Thomas stands somewhat apart from the previous volumes. To begin with, it concentrates entirely on Thomas's works for solo violin, with or without orchestra over a span of 21 years, from 1995's Incantation to three works all from 2016. Another departure from the previous volumes is that the present album's originator is the performer. In devising the programme recorded here, Clarissa Bevilacqua steps into the limelight in this, her debut album, as a musician of quite spectacular musicality, technical mastery and artistic vision that might be more plausibly ascribed to far more seasoned figures than her 21 years of age might initially suggest. With a release of this calibre, one can safely predict for Ms. Bevilacqua that the sky is the limit. – Paul Pellay
Clarissa Bevilacqua Violinist Clarissa Bevilacqua is known to enchant audiences with her dazzling technical skills and deeply inspiring musicality. Music director and conductor Terry Lowry says she possesses that “rare star quality that is difficult to describe, but impossible to miss.” Winner of several international competitions, she was awarded First Prize, Audience Award and Special Bärenreiter Award at the International Mozart Competition Salzburg. Passionate about historic violins, at age fourteen Clarissa was selected as the youngest violinist to perform regularly with the Stradivari collection of the Violin Museum in Cremona. She now performs on a violin by Zosimo Bergonzi, Cremona c.1748, courtesy of Guarneri Hall NFP and Darnton & Hersh Fine Violins, Chicago. www.clarissabevilacqua.com
Vimbayi Kaziboni Described as a conductor of “great intensity, without distancing, maneuvering, without indifference” (Neuemuzikzeitung), Zimbabwean-born Vimbayi Kaziboni is widely sought-after for his depth of approach and his interpretive imagination and expressivity. He has led many critically lauded performances with orchestras across the globe performing at some of the most prestigious concert halls in the world, including Carnegie Hall, Walt Disney Hall, Lincoln Center, Royal Concertgebouw, Berlin Philharmonie www.vimbayikaziboni.com
Augusta Read Thomas Thomas is one of the most active composers in the world, with commissions, performances, recordings, awards, and honors, but she is also a long-standing, exemplary citizen of the profession at large with an extensive and deeply committed history as a generous colleague in the profession. The New Yorker called her "a true virtuoso composer.“