Treya is the debut solo album of Austro-Italian violinist Olivia De Prato, now resident in New York. De Prato specializes in contemporary composed music as well as improvisation; in addition, she is co-founder of the Mivos Quartet, a chamber ensemble that also specializes in performing contemporary work. For Streya, she has assembled six new pieces for violin alone or with electronics, four of which were written specifically for her.
One of the four is Streya. The piece was originally composed in 2010 for De Prato by Victor Lowrie, the Mivos Quartet’s violist; the version recorded here was expanded in 2016 for the recording. Although it draws—moderately—on modern techniques of juxtaposition and disruption, Streya retains a lyrical continuity underscored by a dramatic use of dynamics. De Prato’s interpretation vivdly brings out the piece’s sense of proportion and balance. Ned Rothenberg’s Percorso insolito (“extraordinary path”) of 2016, which like Streya is a kind of contemporary counterpart to the Baroque solo violin sonata, is a cleanly played, linear piece that ranges up and down the instrument’s compass. Taylor Brook’s Wane (2016) also exploits the violin’s range, but in a different way. The multitracked piece builds layers out of five violin parts, each with a different tuning. The composite sound is of rising and falling glissandi embellished by imploring, vocal-like ornaments. Missy Mazzoli’s 2014 Vespers for Violin also uses recorded material, this time samples from the performance of her Vespers for a New Dark Age, as a sonic scrim against which De Prato projects her own part. This atmospheric piece features some of the rich, enveloping timbres of electronic ambient music and provides a lush contrast to the more austere works that precede it.
Streya also includes Samson Young’s electroacoustic Ageha.Tokyo (2008), and Reiko Füting’s Tanz.Tanz (2010) for solo violin.