Violinist and composer Curtis Stewart has released a new recording titled “24 American Caprices,” a collection of solo violin pieces that draw inspiration from a diverse range of American musical styles. The album debuted on Juneteenth through the Bright Shiny Things label, marking a contemporary reinterpretation of the virtuosic 24 Caprices originally composed by Niccolò Paganini over two centuries ago.
Stewart’s caprices incorporate elements from genres such as classic rock, hip-hop, folk, and jazz, reflecting his personal and cultural experiences. Influences include Earth, Wind & Fire’s “September,” Kendrick Lamar’s “Complexion,” Queen Latifah’s “U.N.I.T.Y.,” Joni Mitchell’s “Big Yellow Taxi,” and John Coltrane’s “Giant Steps.” The pieces incorporate a range of technical challenges while also emphasizing expressive musicianship. Stewart described the collection as a way to “own the violin” and express an American identity through the instrument.
The project also takes an innovative approach in its performers. Seven of the violinists featured on the recording are students, some still in high school, including 17-year-old Lin-Chi Chuang, who is part of the Perlman Music Program. Chuang characterized the caprices as opportunities to prioritize musical expression over technical display.
Tai Murray, a violinist and faculty member at Yale School of Music, has recorded one of the caprices based on Dolly Parton’s “9 to 5” and intends to incorporate the set into her teaching curriculum. She praised the caprices’ ability to withstand varied interpretations while maintaining their structural integrity.
Stewart, 39, is based in New York and hails from a musical family; his late mother, Elektra Kurtis, was a violinist, and his father, Bob Stewart, is a jazz tuba player. He studied both music and mathematics before founding the improvising ensemble PUBLIC Quartet in 2010. His past works include Grammy-nominated recordings and collaborations that blend classical and vernacular American music traditions.
The “24 American Caprices” originated partly from Stewart’s desire to challenge conventional violin repertoire and pedagogy by integrating familiar American musical idioms. The project was commissioned by several institutions, including the Kaufman Music Center and the Juilliard School, where Stewart teaches. Performances during the 2024-25 season at Kaufman showcased the caprices delivered by students, eliciting enthusiastic audience responses.
Stewart’s collection also includes an eight-minute theme and variations on “Amazing Grace,” performed by 15-year-old Maxwell Brown—a Perlman and Juilliard Pre-College student—who described the work as both technically demanding and soulful.
The composer has made the caprices widely accessible, providing sheet music and instructional videos online, aiming to encourage young violinists to engage with the pieces. The scores combine traditional Italian musical terms with informal English annotations such as “graceful ghost” and “swag,” inviting performers to embrace both technical rigor and personality.
Some emerging violinists have already begun incorporating Stewart’s caprices into audition repertoires, signaling early acceptance within the evolving classical music landscape. Through this blend of technical challenge and American musical heritage, the “24 American Caprices” stand as a fresh contribution to violin literature and pedagogy.