Trois Gymnopédies

Inspired by Satie and Debussy, the three movements of Elena Ruehr’s TROIS GYMNOPÉDIES for Flute, Viola, and Harp evoke elements of the composer’s childhood, growing up in Michigan on the edge of a forest, near the shores of Lake Superior. When combined, the movement titles form a brief poem: “i was dreaming of dancing / in some ancient time… / in a sunlit forest.” These images yield a musical work of great delicacy, grace, and drama that trios will be eager to embrace as a significant and exciting addition to their repertoire.

Inspired by Satie and Debussy, the three movements of Elena Ruehr’s TROIS GYMNOPÉDIES for Flute, Viola, and Harp evoke elements of the composer’s childhood, growing up in Michigan on the edge of a forest, near the shores of Lake Superior. When combined, the movement titles form a brief poem: “i was dreaming of dancing / in some ancient time… / in a sunlit forest.” These images yield a musical work of great delicacy, grace, and drama that trios will be eager to embrace as a significant and exciting addition to their repertoire.

Inspired by Satie and Debussy, the three movements of Elena Ruehr’s TROIS GYMNOPÉDIES for Flute, Viola, and Harp evoke elements of the composer’s childhood, growing up in Michigan on the edge of a forest, near the shores of Lake Superior. When combined, the movement titles form a brief poem: “i was dreaming of dancing / in some ancient time… / in a sunlit forest.” These images yield a musical work of great delicacy, grace, and drama that trios will be eager to embrace as a significant and exciting addition to their repertoire.