STREYA – Album of new works for solo Violin
The Latest Update
Acclaim for STREYA
I’m delighted to share these reviews and features for my debut solo album. STREYA is now available on New Focus Recordings: smarturl.it/streya. On Tuesday, June 12, 6pm, I am performing a free concert at Columbia University’s Miller Theatre to celebrate the album. More info here.
“spirited violinist … soaring solo violin. De Prato … opens [Missy Mazzoli’s Vespers] with a raspy thread of tone, emerging from a haze to shift between elastic, slithery scales and punchy flourishes, gradually reaching the upper register of her instrument while a scrim of ethereal voices wafts by.” – NPR
“Taylor Brook’s spellbinding Wane enlists De Prato to overdub multiple parts in different tunings, generating a spectral richness with each element melting into one another.” – Bandcamp Daily
“Each of the six pieces is executed with conviction, the violinist customizing her approach to satisfy the emotional and technical demands of the material and playing with gusto, audacity, and sensitivity throughout.” – Textura
“The catalogue of virtuosic effects—slashing, picking, buzzing, bouncing off the strings—is astounding, all the more so for the lightness and delicacy De Prato folds in to sections that simply explode.” – Beyond Criticism
“Her technique is stunning: depending on the needs of a piece, she can deliver flash, nuance, lyricism or the kind of acidity that one often finds in the edgy kind of repertoire the [Mivos] quartet specializes in.” – New York Music Daily
“She’s the kind of player that stands out in a crowd, dazzling with her utter command of even the most demanding techniques and the sheer expressive verve she puts into the music.” – An Earful
As a passionate advocate of new music, I’ve met many extraordinary artists. The six composers I have chosen to record for this album are musicians who I admire and have worked closely with since moving to New York City in 2005. I would describe each of them as a multifaceted artist – each one brings a wide range of artistic abilities and perspectives to their work. As performers, improvisers, visual artists, and scholars of non-western traditions, the composers on this album represent the rich, eclectic variety of influences that are fascinating to me in new music.
This project represents my musical journey since coming to New York City in 2005 and it portrays an important stage in the development and exposure of new works by living composers. Each of these pieces will be filling a vital role in my identity as a performer as well as creating a new repertoire of important works for the classical-contemporary violin repertoire. The pieces by Taylor Brook, Victor Lowrie, Ned Rothenberg are all written specifically for this album, while Reiko Futing’s and Samson Young’s pieces have both been prominent in my solo repertoire for the past four years. Missy Mazzoli’s “Vespers” is a new version for violin and electronics from her original work written for her ensemble Victoire, of which I have been a founding member since 2008.
The album will contain the following works:
– Reiko Futing: “tanz.tanz” for violin solo
– Taylor Brook: “Wane” new commission for violin and multitrack electronics
– Ned Rothenberg: “Percorso Insolito” new commission for violin solo
– Samson Young: “Ageha.Tokyo” for violin, electronics and video
– Victor Lowrie: “Streya” for violin solo
– Missy Mazzoli: Vespers for violin and electronics
Each piece on the album embodies the very diverse aesthetic concerns of these distinctive composers. Füting takes his inspiration from an in-depth analysis of Bach’s Chaconne and the title of a Murakami novel. Rothenberg treads a fine line between fixed composition and improvisation, evoking the Japanese shakuhachi honkyoku solo music he has studied for years. In addition to using the element of electronics, Brook incorporates microtonality as a means of transforming the harmonic palette of the solo instrument. Mazzoli’s “Vespers” is a distorted secular take on the traditional Vespers player service, while Young’s “Ageha.Tokyo” seamlessly embeds the violin into an audiovisual landscape. Lowrie’s work originates directly from his experiences as an avid performer and will add an element of improvisation and rhythmic complexity to the album.
The recording took place in September at Oktaven Studios in Yonkers, NY and EMPAC, Troy, NY. Ryan Streber, with whom I have worked previously on several recording projects, served as the engineer. He also assisted me with the editing and mixing in the months following our studio sessions. In the spring of 2017 I worked at EMPAC for the mastering process. The disc will be ready to be released by the spring of 2018. Following the release of the CD, I will perform the program at venues in New York City, Düsseldorf, Vienna, Hong Kong and Venice.
Start and End Dates
09/04/2016 — 03/10/2017
New York City, New York