Mozart’s flute concertos are staples of the
repertoire, and as such have been recorded numerous times by
some of the greatest flute players, proving something of a test
in both style and musicianship. There is undoubtedly an interpretation
in existence to suit all tastes. These range from authentic
period performances to versions with specially commissioned
twenty-first century cadenzas. Most listeners have a clear favourite
which is hard to beat. For interest, my own preference is for
William Bennett’s recording with the English Chamber Orchestra
and George Malcolm.
Emmanuel Pahud is without doubt one of the world’s finest
and most charismatic living flute players. Having heard him
live, I was curious to hear this 1996 recording. It didn’t
disappoint; in fact, it exceeded my already high expectations.
The flute and harp concerto has a beautifully light first movement,
played with simple elegance and with a suitably fast tempo to
maintain the music’s momentum without rushing. The exquisite
slow movement is played here with some breathtaking phrasing,
and stunning pianissimos. Marie-Pierre Langlamet’s harp
playing is as impressive as Pahud’s flute, and the pair
make an excellent duo. The orchestra provides a sensitive and
gentle accompaniment with a warm but unobtrusive sound. The
final movement retains the lightness of the first, and continues
the sense of this as a simple, straightforward interpretation,
allowing Mozart’s music to speak for itself, with delicate
phrasing and a good sense of the musical line. The cadenzas
in all three movements have a sense of poise and delicacy, allowing
the soloists to shine without interrupting the overall mood
of the music.
The G major concerto follows, and the opening is bright and
majestic, with clear articulation and a beautiful rich tone
from the flute. The orchestra is consistently excellent, with
a good balance maintained throughout. Pahud has an impressive
evenness of tone throughout the registers, and good control
of the tone colour, allowing for subtle timbral shifts which
are completely compelling. He has a wonderful sense of style,
which captures Mozart’s elegance and adds a touch of sparkle
to the solo line. The cadenzas are composed by the soloist,
and demonstrate inventiveness and imagination without straying
from a sense of tradition. The slow movement is faster than
some recordings I have heard, which prevents the line from becoming
too heavy or over-sentimental. There is much to enjoy about
this movement, most notably the well considered phrasing. The
finale has a wonderful dance feel, played at a sprightly pace
with some admirable technical clarity from Pahud.
The D major concerto possesses the same lightness of touch and
healthy attention to detail that makes this recording stand
out from many of the others. You will wonder at Pahud’s
technical agility, with even fingerwork and clear, precise articulation.
The sense of ensemble from the orchestra is spot-on and the
choice of tempo in each movement is exemplary. This disc is
unquestionably one of the best Mozart flute concerto recordings
I’ve heard, with musicianship and instrumental ability
in abundance. Unmissable.
Carla Rees
Emmanuel Pahud (flute)
