Ember | Birds of Paradise Review

by Illiam Sebitz

Ember’s debut recording brings together three works that span more than a century of repertoire for the harp-violin-cello trio. The programme is anchored by Henriette Renié’s early‑20th‑century Trio in B‑flat major and two commissioned compositions. Reena Esmail’s Saans (2017) and Angélica Negrón’s Ave del paraíso (2023). The trio’s chemistry and the production values make Birds of Paradise a compelling statement for anyone invested in the evolution of chamber music.

Henriet Renié’s Trio for Harp, Violin & Cello in B‑flat major (1901) is one of the very few chamber works of its era that places the harp at the heart of a multi‑movement dialogue. At a time when the harp was still largely relegated to ornamental or folkloric roles, Renié crafted a fully integrated quartet of four movements that treat the instrument with the same virtuosity and structural rigor afforded to piano or strings. The piece’s four‑movement architecture—Allegro risoluto, Scherzo Vivace scherzando con spirito, Andante, and a Final Allegro is structured by the Classical‑Romantic tradition. The movements reflect the harp’s distinctive sonorities of shimmering arpeggios, crisp staccato chords, and resonant pedal‑rich harmonies. This forward‑looking approach helped broaden the perception of the harp as a legitimate voice in the chamber‑music canon, paving the way for later 20th‑century composers to explore its expressive possibilities.

Ember’s interpretation amplifies Renié’s vision by marrying historic sensitivity with contemporary vigor. In Ember’s recording, the individual voices of Emily Levin (harp), Julia Choi (violin), and Christine Lamprea (cello) illuminate Renié’s vision with beautiful clarity. In the opening Allegro risoluto, Levin’s harp motive sets the tonal landscape while showing how agile the harp is, while Choi’s tone adds warmth to articulate with Lamprea’s resonant foundation. The Scherzo comes to life with Levin’s harp conversing playfully with Choi’s agile figures that twist with Lamprea’s counterpoint.

During the lyrical Andante, Levin’s balanced, sustained harp chords create a warm harmonic bed, allowing Choi’s and Lamprea’s cantabile lines to provide the composer’s pulse of counterpoint. Ember’s careful dynamic shaping. Finally, the Final Allegro erupts with Levin’s motion with syncopated sixteenth‑note passages, while Choi and Lamprea weave interlocking motifs that recall the opening material, delivering a satisfying cyclic resolution.

Ember’s nuanced articulation, balance, and phrasing bring out the trio’s structural clarity and emotional depth, confirming Renié’s pioneering claim that the harp can thrive as a central, virtuosic voice in early‑20th‑century chamber music.

 Reena Esmail’s Saans (2017) is a contemporary work that marries Western chamber‑music craftsmanship with South‑Asian rhythmic vitality.  From the outset, Levin (harp) creates a looping ostinato that mimics the steady inhalation of a breath, its rippling arpeggios setting a hypnotic foundation. Choi (violin) and Lamprea’s timbers match the resonance of the harp as the piece’s central theme breathes between them.

The climax arrives as the three players build to a crescendo, culminating in a lush listening experience. The work highlights Ember’s ensemble playing, especially the seamless balance between Levin’s resonant harp textures, Choi’s expressive violin lines, and Lamprea’s grounding cello presence.

 Angélica Negrón’s Ave del paraíso (2023) is a contemporary classical texture with a goal of foregrounding an ecological narrative. From the first seconds, field recordings of birds immerse the listener in a soundscape; Levin (harp) replies with shimmering, delicate harmonic textures.  The pizzicato in the violin and cello grows to swelling arco melodies. This opening gesture signals the piece’s intent, which is to translate the richness of a living ecosystem into the language of chamber music

The three works are united by a shared focus on female compositional voices and the metaphor of “birds of paradise.” Renié provides a historic anchor; Esmail introduces a breath‑based, cross‑cultural dialogue; Negrón concludes with a vivid, nature‑infused tableau. The sequencing moves from the Romantic past to the contemporary present. Ember’s Birds of Paradise enriches the discography and continues the high artistic releases coming from the Azica imprint.

Artist: Ember
Album: Birds of Paradise
Label: Azica Records

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Release Date: September 12, 2025

About the author

Illiam Sebitz

Born and raised in a picturesque European village, my fondness for music began during my formative years, when the charismatic tones of the recorder first filled the halls of my primary school. This early fascination escalated into my lifelong pursuit of embracing the melodious charm of the flute; I have even spent time refining my skills at a music conservatoire. As a seasoned music connoisseur, I find myself captivated by the multifaceted world of music. I enjoy writing music reviews to better enable me to explore genres as diverse as world, rock, jazz, classical, folk, and film music, each offering a unique auditory journey that enriches my life and intellect.

In my spare moments, you'll likely find me meticulously crafting my latest woodworking project, sharpening my skills with flute etudes, or inventing tales of fantasy through the art of creative writing. My eclectic interests and expertise harmonize to create a symphony of passion and curiosity that resonates within every aspect of my life as a music enthusiast.