> PAGANINI 24 Caprices Cawdrey ADW7403 [JW]: Classical Reviews- April 2002 MusicWeb-International

One of the most grown-up review sites around

2020
54,416 reviews
and more.. and still writing ...

Search MusicWeb Here

     
  
 

 

International mailing


 
Founder: Len Mullenger                                    Editor in Chief:John Quinn             


Some items
to consider

 

paid for
advertisements

Acte Prealable Polish recordings

Forgotten Recordings
Forgotten Recordings
All Forgotten Records Reviews


TROUBADISC
Troubadisc Weinberg- TROCD01450

100th birthday of Mieczyslaw Weinberg on December 8, 2019.
Renate Eggbrecht has recorded all 3 violin Sonatas
All Troubadisc reviews


FOGHORN Classics

Alexandra-Quartet
Brahms String Quartets

All Foghorn Reviews


All HDTT reviews

http://www.musicweb-international.com/Classrev/2022/Sep/Williams-sy1-NI6432.htm
Symphony No 1
Portrait of Ned Kelly

 

 


Follow us on Twitter

Subscribe to our free weekly review listing
sample

Sample: See what you will get

Editorial Board
MusicWeb International
Founding Editor
   
Rob Barnett
Editor in Chief
John Quinn
Contributing Editor
Ralph Moore
Seen & Heard
Editor Emeritus
   Bill Kenny
MusicWeb Webmaster
   David Barker
Postmaster
Jonathan Woolf
MusicWeb Founder
   Len Mullenger

 

Discs for review may be sent to:
Jonathan Woolf
76 Lushes Road
Loughton
Essex IG10 3QB
United Kingdom

jonathan_woolf@yahoo.co.uk


 


 
REVIEW

 


 


Niccolo PAGANINI (1782-1840)
24 Caprices Op 1 arr Cawdrey
Julian Cawdrey, flute
Recorded St Andrews Church, Toddington, Gloucestershire May 1997
PAVANE ADW 7403
[77.34]

 

Experience Classicsonline

Julian Cawdrey was the 1984 BBC Young Musician of the Year, making his Queen Elizabeth Hall debut two years later and the recipient of the dedication of a flute sonata by Alan Hoddinott. Amongst his teachers was Geoffrey Gilbert. He has had the courage to arrange the Op 1 Caprices for flute, a Herculean feat that involves some wholesale rearrangements. Since its impossible to replicate double stopping, string crossing, extra parts and chordal writing amongst other things he has had to "revamp" (his word) the flute part. In that respect, maybe surprisingly, he's not the first. There's an arrangement. I believe, by Jules Herman dating from the early 1970s and the French flautist Patrick Gallois has also brought out his own arrangement, published by Leduc, which sounds a good deal more avant-garde than Cawdrey's employing as it does circular breathing, flutter tongue and humming; in fact Gallois has recorded his edition on DG 435 768 2GH.

Cawdrey prefers a degree of flexibility allied to more conventional means. He advocates crisp articulation at fast tempi, replacing, for instance, the double-stopping of No 8 with octave leaps (Gallois here employs "double articulation" to provide an octave effect). In No 9 Cawdrey uses grace notes to imitate the Caprice's huntsman's call; in the same Caprice the French flautist engages in some suitably pyrotechnic humming. I was anticipating No 6 with its sustained single string melody and simultaneous trill with some interest; here Cawdrey plays the melody with the trills pps, quite an inventive solution. It takes quite some violinist to tackle the Caprices let alone a flautist and the young Englishman acquits himself well. Of course there are problems; the scintillating runs in No 2 are difficult to sustain (the flutes limitations here, due to breath taking, are really considerable and take their toll). Intrusive breaths compromise the melodic line; the trills of No 11 could have been more deftly and quickly taken, although I did most certainly enjoy Cawdrey's elegance in this rhetorical Caprice. Its very difficult to bring off the register leaps of No 15; quite a lot of line fracturing is involved. Transpositions are inevitable in a transcription of this kind but Cawdrey has an acute musical ear for incongruity and an occasionally frisky one as well listen to the over drone melody of No 12 and its attendant buzzing tone. No 22 emphasises an occasional fault of the recording which is to expose a certain shrillness in Cawdrey's tone, especially maybe inevitably at the top of the compass, though this is hardly surprising given the remorseless virtuoso rhetoric he has deal with. Its good that flautists are increasingly looking to this kind of repertoire; if you're going to do it at all you might as well do it as well as Cawdrey.

Jonathan Woolf

 



Untitled Document


Reviews from previous months
Join the mailing list and receive a hyperlinked weekly update on the discs reviewed. details
We welcome feedback on our reviews. Please use the Bulletin Board
Please paste in the first line of your comments the URL of the review to which you refer.