{"id":22969,"date":"2014-12-05T22:09:06","date_gmt":"2014-12-06T02:09:06","guid":{"rendered":"http:\/\/www.musicalamerica.com\/mablogs\/?p=22969"},"modified":"2014-12-05T22:09:06","modified_gmt":"2014-12-06T02:09:06","slug":"tre-voci","status":"publish","type":"post","link":"http:\/\/www.musicalamerica.com\/mablogs\/?p=22969","title":{"rendered":"Tre Voci"},"content":{"rendered":"<p dir=\"ltr\"><a href=\"http:\/\/www.musicalamerica.com\/mablogs\/wp-content\/uploads\/2014\/12\/Kashkashian-Tre-Voci-Cover-2345.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-22970\" alt=\"Kashkashian - Tre Voci Cover 2345\" src=\"http:\/\/www.musicalamerica.com\/mablogs\/wp-content\/uploads\/2014\/12\/Kashkashian-Tre-Voci-Cover-2345-300x266.jpg\" width=\"300\" height=\"266\" srcset=\"http:\/\/www.musicalamerica.com\/mablogs\/wp-content\/uploads\/2014\/12\/Kashkashian-Tre-Voci-Cover-2345-300x266.jpg 300w, http:\/\/www.musicalamerica.com\/mablogs\/wp-content\/uploads\/2014\/12\/Kashkashian-Tre-Voci-Cover-2345.jpg 960w\" sizes=\"(max-width: 300px) 100vw, 300px\" \/><\/a><\/p>\n<p dir=\"ltr\" id=\"docs-internal-guid-fde00083-1d56-997d-2f2d-a22317a4908c\">Tre Voci<\/p>\n<p dir=\"ltr\">Works by Debussy, Takemitsu, and Gubaidulina<\/p>\n<p dir=\"ltr\">Marina Piccinini, Flute; Kim Kashkashian, viola; Sivan Magen, harp<\/p>\n<p dir=\"ltr\">ECM New Series CD 2345<\/p>\n<p>&nbsp;<\/p>\n<p dir=\"ltr\">One of his last completed works, Claude Debussy\u2019s Sonata for Flute, Viola, and Harp (1915) has been variously construed as a crystallization of Impressionism into a neoclassical mold, a nod to Debussy\u2019s French compositional ancestors Rameau and Couperin, and an outlier in an otherwise venturesome output. I\u2019m of the opinion that it is none of these things. Instead, the work is a late career example of the composer seeking out what was for him new formal terrain and compositional challenges. The performance on this ECM recording by flutist Marina Piccinini, violist Kim Kashkashian, and harpist Sivan Magen is utterly beguiling, with fluid interplay between the players, rhythmically decisive execution, and incandescent voicing of the work\u2019s entrancing harmonies.<\/p>\n<p>&nbsp;<\/p>\n<p dir=\"ltr\">Toru Takemitsu frequently mentioned Debussy as a significant touchstone for his work. <em>And then I knew \u2018twas Wind\u2019s<\/em> title is inspired by an Emily Dickinson poem. This piece for the same forces as Debussy\u2019s sonata is clearly written as an homage. Yet at the same time, it has a different style of pacing, an ebb and flow and a textural fragility that distinguish it from its predecessor. \u00a0Sofia Gubaidulina\u2019s <em>Garten von Freuden und Traurigkeiten<\/em> adopts the works of multiple poets as reference points: Iv Oganov and Francisco Tanzer. The latter\u2019s lines even make an appearance at the end of the piece as a spoken word component. Frequent harp glissandos and pianissimo effects from the viola are offset by alternately angular and voluptuous flute melodies. A surprising, yet engaging, response to Debussy.<\/p>\n<div id=\"wp_fb_like_button\" style=\"margin:5px 0;float:none;height:34px;\"><script src=\"http:\/\/connect.facebook.net\/en_US\/all.js#xfbml=1\"><\/script><fb:like href=\"http:\/\/www.musicalamerica.com\/mablogs\/?p=22969\" send=\"false\" layout=\"standard\" width=\"450\" show_faces=\"false\" font=\"arial\" action=\"like\" colorscheme=\"light\"><\/fb:like><\/div>","protected":false},"excerpt":{"rendered":"<p>Tre Voci Works by Debussy, Takemitsu, and Gubaidulina Marina Piccinini, Flute; Kim Kashkashian, viola; Sivan Magen, harp ECM New Series CD 2345 &nbsp; One of his last completed works, Claude Debussy\u2019s Sonata for Flute, Viola, and Harp (1915) has been variously construed as a crystallization of Impressionism into a neoclassical mold, a nod to Debussy\u2019s [&hellip;]<\/p>\n","protected":false},"author":29,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[2962],"tags":[219,3431,3434,3433,3432],"aioseo_notices":[],"_links":{"self":[{"href":"http:\/\/www.musicalamerica.com\/mablogs\/index.php?rest_route=\/wp\/v2\/posts\/22969"}],"collection":[{"href":"http:\/\/www.musicalamerica.com\/mablogs\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"http:\/\/www.musicalamerica.com\/mablogs\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"http:\/\/www.musicalamerica.com\/mablogs\/index.php?rest_route=\/wp\/v2\/users\/29"}],"replies":[{"embeddable":true,"href":"http:\/\/www.musicalamerica.com\/mablogs\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=22969"}],"version-history":[{"count":1,"href":"http:\/\/www.musicalamerica.com\/mablogs\/index.php?rest_route=\/wp\/v2\/posts\/22969\/revisions"}],"predecessor-version":[{"id":22971,"href":"http:\/\/www.musicalamerica.com\/mablogs\/index.php?rest_route=\/wp\/v2\/posts\/22969\/revisions\/22971"}],"wp:attachment":[{"href":"http:\/\/www.musicalamerica.com\/mablogs\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=22969"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/www.musicalamerica.com\/mablogs\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=22969"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/www.musicalamerica.com\/mablogs\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=22969"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}