Tre Voci

Trio
Kim Kashkashian, viola
Marina Piccinini, flute
Sivan Magen, harp

“In fact, the head-in-the-clouds sonorities they achieved belied the intense concentration and group focus that, underneath, never flagged.”

— The Intelligencer

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Biography

Grammy-award winning violist Kim Kashkashian, flautist Marina Piccinini, and harpist Sivan Magen met at the Marlboro Music Festival in the summer of 2010.  Three artists who have each been celebrated for bringing a unique perspective to their instruments, they discovered an unusually powerful common voice. 

Since this meeting, Tre Voci has performed across the United States, Mexico, and Europe, with a wide-ranging repertoire that includes many of their own transcriptions, traditional repertoire, and newly commissioned works.  In the fall of 2014 they released a recording of works by Debussy, Takemitsu and Gubaidulina, on ECM New Series. In spring 2018 they performed at Wigmore Hall in London. Tre Voci will be touring the USA and Canada in 2019 featuring a newly commissioned work by Toshio Hosokawa, Arabesque.

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*Represented only in North America

Programmes and projects

Trio Tre Voci explores the influence of Debussy’s Sonata on Takemitsu’s trio for flute, viola and harp. The ensemble’s Wigmore Hall debut includes the UK première of Toshio Hosokawa’s latest work.

Reviews

THE BOSTON GLOBE

 

“These three players gave the [Debussy] Sonata a rhapsodic freewheeling account, sensitive to nuance, artfully blended. The night as a whole had the charm and resonance of one of those Kurtag miniatures: a small vessel with a secret cargo.” 

—  Jeremy Eichler,

March 2012

THE INTELLIGENCER

 

“In fact, the head-in-the-clouds sonorities they achieved belied the intense concentration and group focus that, underneath, never flagged.” 

—  Zoe Kemmerling,

March 2012

THE INTELLIGENCER

 

“It's a very meandering type of piece, [the Debussy Sonata], but the three performers maintained as tight an ensemble and as clear a sense of phrasing in the dreamy, wispy passages as they did in sections of rhythmic drive.” 

—  Zoe Kemmerling,

March 2012

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