|Founder: Len Mullenger||
Classical Editor in Chief: Rob Barnett
RECORDING OF THE MONTH
| "Miniatures for
Flute and Guitar"
Johann Sebastian BACH (1685-1750)
Allegro, from BWV 1033 (2.30)
Siciliano, from BWV 1031 (2.30)
Carl Philipp Emanuel BACH (1714-1788)
Rondo in G Major, from Wq 133 (2.44)
Niccolo PAGANINI (1782-1840)
Polacca in F Major (6.51)
François Joseph GOSSEC 1734-1829
Wolfgang Amadeus MOZART (1756-1791)
Alla turca, from K. 331 (3.04)
Frédéric CHOPIN (1810-1849)
Variations on a Theme by Rossini (6.58) (1924)
Scott JOPLIN (1868-1917)
Original Rags (4.17)
Pjotr I. TCHAIKOVSKY (1840-1893)
Valse sentimentale, Op.51/6 (2.17)
Heitor VILLA-LOBOS (1887-1959)
Bachianas Brasileiras No.5 (4.56) (1945)
Jacques IBERT (1890-1962)
Entr’acte (3.25) (1937)
Maurice RAVEL (1875-1937)
Pièce en forme de Habanera (2.58) (1908)
Aram KHACHATURIAN (1903-1978)
Three Dances from "Gayaneh" (1943)
Allegro (No.17) (2.33)
Andante (No.23) (5.54)
Allegro vivace (No.6) (2.40)
Peter-Lukas Graf, Flute; Konrad Ragossnig, Guitar
Recorded at Evangelische Kirche, Steinen-Endenburg, April 1986
CLAVES CD 50-2013 (56.20)
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The list of pieces for flute and guitar (or harp, harpsichord, or piano) is extensive and varied. The combination is especially felicitous in sound, both instruments are very expressive and easily portable, and are balanced in volume. Most of these pieces were originally for flute accompanied by some other instrument, but a few are from pieces for other instruments entirely. The booklet contains no information whatever about the music, but extensive information about the artists in four languages. The flutist is Swiss, the guitarist Austrian and both have studied with eminent teachers, are professors, have toured extensively in concert, and have won numerous awards for solo performances and recordings. They perform on this recording with astonishing virtuosity, sensitivity and compelling spirit.
The Paganini is the only piece actually written for flute and guitar. The Bach pieces are arrangements from sonatas for flute and harpsichord. The Ibert was written for flute and harp, the Gossec for flute and drum, (by tapping the guitar a variety of drum effects are available; track 5) the Chopin for flute and piano, the Ravel for violin and piano or orchestra (track 12), the Villa-Lobos for soprano and ensemble of cellos. Amazingly, the Gayaneh excerpts from the full orchestral score sound perfectly suited to these instruments in this skilled arrangement.
Since I frequently attend local flute and guitar recitals, I would have preferred a closer perspective, but the flutist here makes use of his live acoustic with brilliant dynamic display, and turns in some hilarious dog bark imitations in the Joplin (track 8).
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