Franck, Widor, Strauss: Works for Flute

Editorial Reviews
Amazon.com
Pahud is a truly fabulous flutist, but his playing is so musical and expressive that his virtuosity never becomes an end in itself. His runs are like cascades, natural and effortless at any speed. He seems not to breathe at all, spinning endless phrases without losing pitch or quality. And his tone: clear, translucent, radiant but never shrill even in the highest register, warm and mellow down to a low B, its range of dynamics, color and nuance is breath-taking. It can rise to a passionate intensity not usually associated with the flute, but crucial to these three works, of which only one, the Suite by Widor, is "for flute," the others being transcriptions of violin sonatas. As principal flutist of the Berlin Philharmonic, Pahud fell in love with Strauss' brilliant, soaring orchestral flute parts and decided to "appropriate" the Violin Sonata. Written when Strauss was 23, it has a youthful fervor and exuberance, but clearly harbors the seeds of his mature mastery. Pahud's transcription is very good and should be a welcome addition to the flute's notoriously sparse romantic repertoire. The violin part lies high and does not need many changes of notes or register, and the filigree runs sound light and airy. The anonymous familiar arrangement of the Franck Sonata works less well, requiring much bending of lines and jumping among registers, often in jarringly inauspicious places. The first and last movements, with their serene, sunny sound, are best; the other two really cry out for the warm, dark richness of the violin's low strings. Surprisingly, the difference between an original and a transcribed flute part, clearly illustrated by the Widor Suite, shows especially in the accompanying figurations, which sound idiomatic in the former, awkward in the latter. The Suite is a virtuoso piece, but has considerable musical substance; in contrast to the violin sonatas, it is predominantly dark, dramatic and melancholy. Pianist Eric la Sage is superb, supportive and soloistic by turns, a truly equal partner. It is unfair to print his name on the booklet in small letters and not to include his photograph, while there are three of Pahud. --Edith Eisler

Tracks:

1: Allegro Ma Non Troppo
2: Improvisation: Andante Cantabile
3: Finale: Andante-Allegro
1: Moderato
2: Scherzo: Allegro Vivace
3: Romance: Andantino
4: Finale: Vivace
1: Allegretto Ben Moderato
2: Allegro-Quasi Lento-Tempo 1
3: Recitativo-Fantasia (Ben Moderato-Largamente-Molto Vivace)
4: Allegretto Poco Mosso

Amazon.com

Pahud is a truly fabulous flutist, but his playing is so musical and expressive that his virtuosity never becomes an end in itself. His runs are like cascades, natural and effortless at any speed. He seems not to breathe at all, spinning endless phrases without losing pitch or quality. And his tone: clear, translucent, radiant but never shrill even in the highest register, warm and mellow down to a low B, its range of dynamics, color and nuance is breath-taking. It can rise to a passionate intensity not usually associated with the flute, but crucial to these three works, of which only one, the Suite by Widor, is "for flute," the others being transcriptions of violin sonatas. As principal flutist of the Berlin Philharmonic, Pahud fell in love with Strauss' brilliant, soaring orchestral flute parts and decided to "appropriate" the Violin Sonata. Written when Strauss was 23, it has a youthful fervor and exuberance, but clearly harbors the seeds of his mature mastery. Pahud's transcription is very good and should be a welcome addition to the flute's notoriously sparse romantic repertoire. The violin part lies high and does not need many changes of notes or register, and the filigree runs sound light and airy. The anonymous familiar arrangement of the Franck Sonata works less well, requiring much bending of lines and jumping among registers, often in jarringly inauspicious places. The first and last movements, with their serene, sunny sound, are best; the other two really cry out for the warm, dark richness of the violin's low strings. Surprisingly, the difference between an original and a transcribed flute part, clearly illustrated by the Widor Suite, shows especially in the accompanying figurations, which sound idiomatic in the former, awkward in the latter. The Suite is a virtuoso piece, but has considerable musical substance; in contrast to the violin sonatas, it is predominantly dark, dramatic and melancholy. Pianist Eric la Sage is superb, supportive and soloistic by turns, a truly equal partner. It is unfair to print his name on the booklet in small letters and not to include his photograph, while there are three of Pahud. --Edith Eisler

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