Though the origin of Bach's sonatas for flute and harpsichord is uncertain there has also been considerable debate about their genre. The first three are often called "Sonaten auf Concertenart" - sonatas in concerto style - a hybrid genre that became popular between 1720 and 1740, so Bach may have been deliberately experimenting with form in these works. The Sonata in E-Flat Major, BWV 1031, with its lovely Siciliano, is perhaps the most popular of the flute sonatas, holding a special place in the repertory, but all offer a fascinating insight into Bach's use of the sonata genre and a wealth of inventive music.
This recording project was created to celebrate the tenth anniversary of concerts by the John Hackett and Marco Lo Muscio Duo. As in their concerts, the pieces suggest a musical journey between ancient and modern music alternating between duo and solo compositions. The repertoire starts with music from the baroque era up to the present day with the duo's original compositions. Their musical journey includes music of contemporary classical composers and ventures into the world of progressive music. The album includes three exceptional guests who have made a difference in the history of modern music: John's brother. Steve Hackett, the Genesis guitarist; David Jackson, the Van Der Graaf Generator saxophonist; David Cross, the King Crimson electric violinist.
A fine recital of 20th century music for flute and piano by English composers including some rare pieces, all melodic and memorable. A special recording as it features the traditional "English" wooden flute rather than the metal flute now more prevalent. It's warm tone embellishes these works even more.
The four works gathered here belong to what could be described as the secret garden of twentieth-century French music. They remind one that, next to the handful of composers of the post-Debussy-Fauré generation that have found a secure place in posterity, such as Maurice Ravel, Albert Roussel, Francis Poulenc, and Olivier Messiaen, there were many others whose names may be less familiar, but who have also made outstanding contributions to the music of their time. Written over fewer than fifty years, the four works also testify to the pioneering role played by twentieth-century French musicians in reviving and promoting the flute as a solo instrument. Ransom Wilson, flutist and conductor has performed in concert with major orchestras the world over. As a flutist, he has recently launched an ongoing series of solo recordings on the Nimbus label in Europe. Conductor Perry So most recently made his European operatic debut at the Royal Danish Opera in Mozart's Die Zauberflote. He is known for his wide-ranging programming, including numerous world premieres on four continents and works from the Renaissance and the Baoque.
A beautiful and evocative combination, the flute and harp combine especially well in these modern romantic pieces by leading British composers of the mid twentieth century. Emily Beynon (flute) and Catherine Beynon (harp), both now leading and highly-regarded musicians, provide an exquisite performance in their debut CD which has been one of Metier's most popular recordings.
Principal flute of the London Symphony Orchestra, Adam Walker presents a recital of alternately lyric and dynamic music for flute and piano. A lovelorn song from Die schone Mullerin forms the basis of a set of variations by Schubert, and reflective songs without words by Poulenc and Barber offer mellifluous contrast with the dancing energy of Bartok, Messiaen and Poulenc.
Gaubert: Complete Works For Flute Vol 1 / Fenwick Smith
Naxos
CD
$19.99Jan 01, 2004
Philippe Gaubert's music is well known to flutists, but to few others, which is a pity because it's lovely. Although we don't generally expect music by flutist/composers, especially French ones, to explore the outer regions of avant-garde expressionism, there's still a big difference between music that's appealing to flutists and music that's just really, really pretty. Gaubert's works fall into the latter category, being attractively impressionistic, graceful, tuneful, and not a note too long. The Trois aquarelles for flute, cello, and piano comprise the most substantial piece on this disc, lasting nearly a quarter hour, and they're so lovely that it's almost painful. Also noteworthy: the sexy little Divertissement grec for two flutes and harp, and the charming Suite in four movements that concludes the disc. But really, if you like any of it, you'll love all of it.
Boston Symphony Orchestra flutist Fenwick Smith plays these pieces with a big, full tone and complete absence of irritating breathiness. In the Divertissement, he and his BSO colleague Jacques Zoon play wooden flutes, and his fellow musicians support him admirably. Pianist Sally Pinkas makes a particularly considerate partner, managing to characterize her playing quite well without overwhelming the flute in climactic passages. The sonics also do full justice to Smith's limpid tone and offer excellent balances between the various performers. Only a few captured breaths here and there point to microphones positioned perhaps a touch too closely, a seemingly ubiquitous failing these days. Still, this is a delightful disc by any standard, and one that works equally well as a light background or as an engaging foreground. --David Hurwitz, ClassicsToday.com
In the late 19th and early 20th century, Paul Taffanel was probably the most influential figure in the world of flute music, as performer and composer, but more so as inspirer, commissioner and supprter of fine works by a multitude of composers; this set contains many of those, most of which, having fallen out of fashion in the modernist 20th century, have never been recorded until now - indeed many have been unperformed for years. A great shame as these are without exception, exquisite and lovely works, beautifully performed. One or two well known pieces are included too. The artists have put an immense amount of dedication into this, their 'magnum opus'. over 76 minutes on each CD all at less than mid price.
In this series of concerti, one senses a progression. The first six, all in major keys with clear, luminous themes, rely on a varied and singing virtuosity. Magnificently written for the flute, they remain – although more developed – in the tradition. The following concerti show the “French Mozart” at the peak of classical style, but also forward looking, notably through a more demonstrative conception of the Soli and the orchestration. The variety and quality of these concertos reveal François Devienne as one of the great masters of flute literature, and of the concertante genre in France.
Following Tatjana Ruhland’s cpo release with flute compositions by Carl Reinecke, which has just been awarded the OPUS KLASSIK 2018 for the best concerto recording of the year, music critics have described her as "the top class in her field" and as "a virtuoso and nimble flutist" with "a warm tone full of interpretive intensity." On her new cpo album she dedicates herself to three flute concertos by August Eberhard Müller. Beethoven esteemed Müller as an artist, and Goethe valued him as a music expert; contemporary lexicographers praised him as a composer and as an interpreter on the flute, piano, and organ, and Friedrich Rochlitz, the founding editor of the Allgemeine musikalische Zeitung, described him as a composer whose works were "of definite, enduring value." Müller also did not have to beg for prestigious posts: he was the St. Thomas choirmaster and organist and Johann Sebastian Bach’s fourth successor in Leipzig from 1804 to 1810 and the court music director in Weimar, "seat of the Muses," from 1810 until his death. Müller’s flute concertos, eleven in all, were printed between 1794 and 1816, and two single pieces for flute and orchestra were published in 1804 and 1817. It thus may be said that he thoroughly occupied himself with this genre or instrumentation during his active years as a composer, and his flute concertos make no secret of his great admiration for Mozart.
Through The Reeds: Woodwind Concerti of Walter Ross
Ravello Records
CD
$18.99Sep 25, 2012
Through the Reeds is a collection of woodwind concerti from American composer Walter Ross. A lifelong musician and composer, Ross has historically worked most closely with instruments in the woodwind family; the four concerti on this album, all of which feature woodwind solo, highlight his preference for the family and his keep ability to compose works for oboe, bassoon, and flute.
Joaquín Rodrigo, composer of the renowned Concierto de Aranjuez(Naxos 8.579053), is acknowledged as one of the great Spanish composers of the 20th century. His music extends the Romantic Impressionist tradition of Albéniz, Granados and Falla, and is inspired by the French style and color Rodrigo experienced during his studies in Paris. From the thrilling and virtuosic Elogio de la guitarra to his swan song in the Dos pequeñas fantasías, Rodrigos guitar music explores the Spanish nature of the instrument and blends tradition with innovation. Always filled with variety, contrast and compelling atmosphere, his oeuvre is now appreciated as one of the central pillars of the entire guitar repertoire. Since his concert debut at the age of six, Turkish American guitarist and composer Celil Refik Kaya has received many high accolades. He was the youngest contestant to win First Prize in the 2012 JoAnn Falletta International Guitar Concerto Competition, and is a prizewinner of international guitar competitions across Europe and the US. In 2017 he was named Rising Young Musician of the Year by the Donizetti Classical Music Awards in Istanbul and awarded a prestigious fellowship from Harvard Universitys Dumbarton Oaks. Kayas first recording, Jorge Morels Guitar Music was critically acclaimed by American Record Guide.
During the 18th century in Naples there were a huge number of excellent musicians. As a result, Neapolitan music reveals an exhaustive and surprising gold mine of new discoveries and small masterpieces. None of these sonatas have ever been recorded before. Flautist Renata Cataldi presents these works on an authentic transverse flute. She is joined by the ensemble Partenope Stravagante, cellist Leonardo Massa, and harpsichordist Debora Capitanio. Renata Cataldi studied at the "Licinio Refice" in Frosinone and "San Pietro a Majella" in Naples, and received her Doctor of Musical Arts at the University of Bologna. She regularly concertizes as a soloist, in various chamber ensembles, and in orchestra, devoting herself to the modern, Renaissance, and Baroque transverse flute. With the transverse flute, she dedicates herself to the recovery and enhancement of the eighteenth-century Neapolitan musical heritage. She is also the author of essays and articles published for the State Archives of Rome and the Italian Society of Musicology.
Principal Harpist of the Philadelphia Orchestra Elizabeth Hainen's first release for AVIE spanned three centuries of Harp Concertos (AV 2221). Her new Kickstarter-funded release, Les Amis, features a rare pairing of works by Claude Debussy and André Caplet, exploring the composers' friendship through their respective works Danse sacrée and Danse profane, and the evocative Masque of the Red Death, with Michael Stern and the IRIS Orchestra. Rounding out the recording, Elizabeth solos with a transcription of Debussy's Petite Suite, originally for solo piano, and Caplet's Divertissements, and is joined by her own amis, fellow Philadelphia Orchestra principal flautist Jeffrey Khaner and violist Roberto Diaz, President of the Curtis Institute, in Debussy's Trio Sonata for Flute, Viola and Harp. critical acclaim for Elizabeth Hainen's Harp Concertos (AV 2221) "The entire production has class and great aural resonance, a real delight to add to an otherwise neglected body of music." ¬- Audiophile Audition "Hainen plays with impressive virtuosity." - Fanfare "The tonal range of Hainen's playing, coupled with her technical finesse and sense of style, bring allure to the entire disc." - The Daily Telegraph
