Join Trilogy Ensemble for some Mediterranean spice in your lunchtime. With music from Mediterranean countries and inspired by their musical culture.

Mediterranean Flavouring

Théodore Dubois - Terzettino (1904) (4’)

Jacques Ibert -  Deux Interludes (1946) (8’)

1. Andante espressivo

2. Allegro vivo

Hildegard von Bingen - O Viridissima Virga arr. Trilogy Ensemble (4.5’)

Maurice Ravel - Sonatine (1905) arr. Trilogy Ensemble (13’)

1. Modéré (moderate)

2. Mouvement de menuet

3. Animé (animated)

Rebecca Clarke - Danny Boy arr. Trilogy Ensemble (5’)

Miguel del Águila - Submerged (10’)

With European, French, Spanish and Latin-American influences this programme will bring the warmth and spice of the Mediterranean to Manchester.

Dubois and Ibert bring romantic French-school warmth to this instrumentation. We love arranging works for our combination - we feature a more ancient sound by Hildegard von Bingen with a Medieval melody all about Spring unfurling. Ravel’s Sonatine was originally composed for solo piano, but several composers have tried to arrange it for harp trio - this is Trilogy’s own version. Three movements packed with French impressionism, a slow waltz and fiery toccata to end. Ravel composed the first movement for a competition, which sadly was cancelled, but he most likely would have won! He often toured the first two movements, leaving out the third as he considered himself not proficient enough a pianist to perform it. Danny Boy is a well known folk-melody with Rebecca Clarke’s warm romantic harmonies, originally for violin and cello - we think it works especially well for our combination. We end with a fiery Latin-American work about a journey through the ocean. Miguel del Águila’s Submerged uses exciting extended techniques to evoke sounds of the ocean and instruments from South America. With a music box and wonderful harp solo to watch out for. It is based on a poem all about the sea. We start gliding above the blue ocean, then descending into the depths among sea-creatures. A music-box brings us back to the surface for the return of the dance. This work uses so many extended techniques to create whole new sounds of different instruments. The flute is transformed into a wooden pipe - the viola has to play like the ‘charango’ a South American guitar and the harp does everything you are told not to do at music college to create effects and sounds of the deep ocean.