Dalbavie: Flute Concerto Emmanuel Pahud By Marc-André Dalbavie – Orchestre philharmonique de Radio France, Transir for Flute & Chamber Orchestra. Check out Dalbavie: Flute Concertos by Emmanuel Pahud on Amazon Music. Stream ad-free or purchase CD’s and MP3s now on Like other high-profile wind players, Emmanuel Pahud has sought to compensate for the dearth of pre concertos by commissioning contemporaries.
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Add a Comment Click here to cancel reply. This is indeed profoundly chilly music, constantly on the verge of freezing solid, never thawing into expansiveness. Skip to main content.
Proms 2011: Marc-André Dalbavie & Elliott Carter – Flute Concertos (UK Première)
And this drivel is being presented — by leading performers and institutions, some of whom must surely know better — as important work by a leading composer? Posted on July 29, by 5: They lumber around, moving forward in shuffles, and on the very rare occasions when they wrestle attention away from the flute, their gruff material fizzles quickly. Dalnavie fact, as the work unfolds, the quizzical nature between the one and the many takes on an ecstatic quality, the flute continuing its endless melody in a quasi-mystical manner, ever ealbavie and more tranquil.
After this, Michael Jarrell’s …un temps de silence… and Matthias Pintscher’s Transir are a good deal more intense.
Dalbavie; Jarrell; Pintscher Flute Concertos |
I previously encountered his work on a program split with Kurtag!! About Dalbavue The Lists List of compositions reviewed on 5: Concetro the soloist plays some G-D-A-whatevers, echoed by the open strings in the violins — ah, spectralism — at which point I ceased listening.
Dalbavie seems intent on aiming the flute on a trajectory that seeks to reincarnate the Flight of the Bumblebee. Related Posted on July 29, by 5: Sorry, your blog cannot share posts by email.
To that end, both also place greatest importance on the surface of the music, inviting the lfute first and foremost to place their focus on its undulations. Anonymous Dalbavvie 25, Thank you. The all-time greats Read about the artists who changed the world of classical music. There are positive aspects, insofar as the relationship between the flute and orchestra is sensitively handled, and the brief dalbafie of Honegger-esque harmony early on are nice.
The texture bristles with the far-off presence of percussion woodblocks at first, rototoms laterand through the first half of the piece, the orchestra is allowed to project significantly but never seems terribly robust; an attempted coup around six minutes in is like a fanfare reduced to fragments.
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Jarrell risks over-indulging the defining features of his idiom – fast and febrile at one extreme, quietly whispering at the other. Gramophone’s expert reviews easier than ever before. A beautiful and rather moving dalbavis, it shows Carter to be as bold and impressively thought-provoking as ever. Like other high-profile wind players, Emmanuel Pahud has sought to compensate for the dearth of pre concertos by commissioning contemporaries.
Proms Marc-André Dalbavie & Elliott Carter – Flute Concertos (UK Première) – |
But each and every time, barely after a few notes have been uttered, the nascent melody is quashed and everything twirls fluts somewhere else. Gramophone products and those of specially selected partners from the world of music.
Whether you want to see what we think of today’s latest fkute or discover what our critics thought of your favourite recordings from the past, you will find it all in our full-searchable Reviews Database. Otherwise, my eyes rolled upwards at the vaguely Herrmannesque opening. But there the similarities end. It really is insulting.
The trumpet was not muted, and there were no balance problems. I mean, really, how can this be? If you are a library, university or other organisation that would be interested in an institutional subscription to Gramophone please click here for further information.
Dalbavie; Jarrell; Pintscher Flute Concertos
Transir is the most radical of the three works in its addiction to fragmentation, brief expressionistic outbursts articulating what might be heard as an extended modernist mad scene. But there’s enough drama to keep the piece in focus, and Pahud’s way with its intricate flurries and withdrawn musings is mesmerisingly fastidious.
Rendered totally unable to fly, the flute ends up skittering around like a moth in an unpredictable wind, ultimately reduced to a demonstration of mere velocity and yet more spiralling scales and arpeggios that speak more of showing off than of virtuosity.
These three works provide a well balanced programme, and high standards of playing and recording combine to make this a release to be reckoned with. So I was dimly amused when the commentators on the Flute Concerto referred to audible similarities to previous works the only true statement they made.
There was a quartet for piano, viola, bassoon, and trumpet, about which it was explained that the trumpet it muted throughout because — well, you know, it says to do so in his undergraduate orchestration book. A bit like swearing at a monk, the rudeness proves itself impotent, and the relationship evolves into something rather uncanny.
There was also a large ensemble piece which was audibly a grab-bag of bits of Favourite Twentieth Century Classics a bit of the Ligeti Five Pieces here, a bit of that there. His concerto is little more than a vacuous compositional exercise, the most cringe-making moment being when Dalbavie attempts a pastiche of impressionism, replete with octatonic scales: Carter seems content to leave ambiguous whether this kind of antagonism is malevolent or simply playful; either way, it makes little impact on the flute, apparently immune to all and any inroads from the orchestra, no matter how agitated they get.
Anonymous November 8, A belated note on the Dalbavie, which I only got around to recently, but I am compelled to share in your dismay.
Despite first appearances, there are commonalities between the two works. After it, Dalbavie’s unaffected warmth seems even more seductive than it otherwise might. Both eschew the contemporary practice of opting for descriptive names; the bald title Flute Concerto has connotations of its own, of course, but nonetheless suggests that deeply programmatic content is not the order cincerto the day.
It works because there are no half-measures: Contact Submitting music to 5: