Jeanne
Baxtresser was principal flutist of the New York Philharmonic
for fifteen years but before that she held the same position
in the Toronto Symphony. I heard her in that capacity during
the orchestra’s guest appearance at the Royal Festival Hall
in March 1983, when she was the soloist in C P E Bach’s Flute
Concerto in D minor, from which she plays the last movement
on this disc, recorded a few years later. I was deeply impressed
by her playing then and hearing that music again after so
many years was a pleasant experience. This concerto, from
1747, is better known in a harpsichord version but the flute
version, arranged by Kurt Redel, may well be the earliest.
The finale is a rousing virtuoso piece with springy rhythms
and playing of the kind that gives the impression of the soloist
never touching the floor. Intending purchasers should give
it a listen and I am sure they will be hooked. The whole programme
is a joy from beginning to end and shows Ms Baxtresser’s prowess
in a diversity of styles.
What
most of all characterises her playing is balance and aristocracy,
which doesn’t exclude intensity and emotion. On the first
seven tracks she is partnered by Andrew Davis who was principal
conductor of the Toronto Symphony at the time and who, besides
being one of his generation’s leading conductors was also
was a brilliant pianist and organist! The interplay between
these two full-blood musicians is admirable, from the coolness
of Debussy’s faun and the relaxed intimate Chopin Nocturne
via the ravishingly beautiful trio movement by Kuhlau (“the
Beethoven of the flute” as Ms Baxtresser puts it) to the atmospheric
Canzona by Samuel Barber – one of his most played chamber
music pieces. It was written in 1959, originally entitled
Elegy. Three years later he orchestrated it as the
slow movement to his Piano Concerto, Op. 38. It was published
under its present title as Op. 38b. It is played softly and
inwardly. Kuhlau’s trio was originally written for two flutes
and piano but also published in two other versions: for flute,
violin and piano, and for flute, cello and piano. On this
recording we hear it with the cello part transcribed for bassoon
by Jeanne Baxtresser’s husband David Carroll, who also plays
it, although he is un-credited in the booklet. It is a pity
there wasn’t room for the whole trio – I happen to have it
on another compilation.
Bartok’s
Suite paysanne hongroise is a free adaptation of his
early Fifteen Hungarian Peasant Songs, and they are
thrilling, often surprising in their irregular rhythms and
the imitation of folk music instruments. The arrangement for
flute and piano are by a pupil of Bartók’s, Paul Anna, who
has been very free in his treatment of the music, skipping
movements and changing textures to suit the flute. Since Bartók’s
composition is also an adaptation this matters very little;
what counts is the result and this is certainly music to return
to – and Jeanne Baxtresser plays it with her customary elegance
and also some rustic charm –especially in the Vieilles
danses. The second ‘piece’ of the Chants populaires
has a distinct blues-feeling.
Towards
the end of the recital we move over to what could be labelled
‘cross-over music’ and here she is joined by her one-time
teacher, the legendary Julius Baker, in a gently rocking version
of Someone to Watch Over Me, one of Gershwin’s most
arresting melodies. On her own she plays the little Promenade
which was posthumously published in 1960 and since then has
become quite popular. Michael Tilson Thomas did it on a CBS
record a decade and a half ago. The flute, set against the
ragtime ensemble, gives it an even airier touch. Jeanne Baxtresser
then shows her catholic taste and broad adaptability in Claude
Bolling’s Suite for Flute and Jazz Piano Trio, which
starts as a duet for flute and piano in a quasi-baroque style
before the bass and drums enter and swing it. Then the movement
alternates between the two styles. An ingenious composition.
The slow second movement starts as a duet, very beautiful
and atmospheric and it then develop into a soft jazz ballad,
while the last movement is a flowing, bluesy, half-minimalist
ride in a fast machine. Excellent musicians!
As
an encore Baxtresser together with her pianist mother play Two
Bits, folk music-inspired pieces by Henry Cowell who had a
special relation to Margaret Baxtresser since he composed a piece
for her New York debut. This is a live recording and the applause
at the end is well deserved and could just as well concern the
whole programme. It is refreshing to have a collection of favourites
that goes beyond the obvious lollipops and shows that there is
so much more or less neglected music which is just as appealing.
Laurie Shulman’s liner notes give much valuable background information
to the music, which further heightens the value of this lovely
recital.
Göran Forsling
for
details
Jeanne
Baxtresser (flute)
