Esther Abrami saw the violin for the first time, and she was only three years old. She hardly knew at the time that this would be the beginning of a lifelong love.

The instrument belongs to Abrami's late grandmother Françoise.

"She gave up on her violin after she got married," said Abrami, a rising violinist who has toured Europe and China. “I kind of keep moving forward like where she left.”

Abrami translated the inspiration story from her first recorded work, The Transmission, in a section of her new album released last Friday. The soaring melody has a cinematic feel and stands out in the accompaniment of the Vienna Radio Symphony Orchestra.

"It's a performance that I'm very excited about and it's very special to record it," Abrami told NPR's Michel Martin.

Album female Recorded in the world's major studios with Irish composer Ina Boyle's Violin Concerto (1935), evoking pastoral scenery with a sense of tone poetry.

Boyle is largely forgotten, and she shares this with several of the 14 composers and songwriters on the album, including Chiquinha Gonzaga of Brazil (1847-1935) and Teresa Carreño of Venezuela (1853-1917).

Therefore, the album's orchestral work was conducted by Irene Delgado-Jiménez, who recently completed a two-year scholarship in a conducting incubator led by Marin Alsop, the first woman to lead a major American orchestra.

The lively composers on the album include Oscar winners Rachel Portman and Anne Dudley, both British - Miley Cyrus through the arrangement of "Flowers" and Yoko Shimomura, her "Valse di Fantastana", the theme of the video game Final Fantastana.

After completing his studies at the age of 25, Abrami realized: “I learned hundreds of works over the years, but none of my women wrote one,” Abrami is now 28. "Then I started doing my own journey and my own research, like opening the door to hidden treasures."

Boyle's teacher Ralph Vaughan Williams, one of the most famous British composers in the early 20th century, reportedly said: "I think you agree the most, but the bravest. The only thing to say is that sometimes it does appear."

Perhaps that's the whole point of Abramy's latest record effort.

“Hopefully, in ten years, there is no need to release an album female,” she said. “But for now, we still have to do a lot of things to drive so many abilities, even to achieve something almost equal to women’s execution of their work. We are so far away. ”

Last year, the Donne Foundation tracked women in classical music and found that the number of female composers performed by orchestras around the world dropped slightly last season, accounting for only 7.5% of the track.

Abramy said part of her positive reason on social media is to change these numbers and inspire young aspiring musicians. I saw the impact on the little girl… The little girl came to my concert and said my social media and my videos on YouTube inspired them and started the violin and now they came to me and said, 'I played a woman, I played a woman, I asked my teacher to play a woman's work. '"

Composers like Pauline Viardot were known in their time and were only reduced to the aftermath after death. Abrami describes the singer-singer as an influencer in the music industry in the late 19th century. Viardot Carmen - Today is one of the most performed operas, but received very little receipt when Bizet premiered just a few months ago.

"She held concerts and parties in her apartment in Paris. All the big guys in the cultural world at that time knew her. She was a good friend of (writer) George Sand, as well as Chopin, Clara, Clara and Robert Schumann, all of whom came to her, played with her, and met her."

Abrami counts the survivors of the Holocaust among her grandparents, and on the International Holocaust Day in January, she released Ilse Weber's "Wiegala" alone. The troublesome lullaby is written by Weber.

“What she is doing is writing music and singing to the children she cared for,” Abrami said. Weber volunteered to accompany the children in the camp when they were sent to Auschwitz concentration camp. "It is well known that one of the last songs she sang with the kids right in front of the gas room was 'Wiegala'." Abrami's father's father was also in Auschwitz concentration camp.

Lullaby only survives today, as Weber's husband hides her poems and scores at Theresienstadt and retrieves them after the war.

The broadcast version of this story is from Barry Gordemer. Digital version by Majd All-Whydy.