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Joachim ANDERSEN (1847-1909)
Complete Recordings - Vol. 7: Works for Flute and Piano
Gavotte op. 23 [4:31]
Quatre Morceaux op. 62 [13:10]
Opern-Transcriptionen op. 45: Der Freischütz [7:34] The Merry Wives of Windsor [5:42]
La Resignation et Polonaise op. 22 [8:44]
Fantasies Nationales op. 59: Swedish [13:47]
Trois Morceaux op.57 [12:17]
Canzone e Erinnerung Op. 53 [4:58]
Moto Perpetuo op. 8 [5:41]
Thomas Jensen (flute), Frode Stengaard (piano)
rec. 2000-2007, Royal Academy of Music, Aarhus, Denmark. DDD
Experience Classicsonline

This is the seventh disc in Thomas Jensen’s Danacord series of Andersen’s complete flute works (see my review of volume 6). Five of the discs comprise repertoire for flute and piano, with Frode Stengaard, while the remaining two contain works for flute and orchestra, recorded with the Jutland Symphony Orchestra. This is a commendable project and it is fitting that the complete works of such a well respected flute player as Andersen should be brought to disc.
The present CD opens with a charming Gavotte, a short four and a half minute work in ternary form, thought to have been composed in 1891. The Quatre Morceaux which follow are character pieces of varying lengths, and include a Cavatina, a jaunty Intermezzo, a Gondola song and a Love Song.
This volume contains two of Andersen’s seven celebrated opera transcriptions, including the enjoyable transcription of Weber’s Der Freischütz. The lyrical introduction gradually develops to take the listener on a journey through the main themes of the opera. Opera transcriptions such as this were popular in the nineteenth century - Taffanel also wrote notable fantasy pieces for flute based on popular operas of the time. The Merry Wives transcription that also features on this disc is light-hearted and stylish, providing an entertaining addition to the flute’s repertoire.
The Swedish Fantaisie Nationale uses native folk themes as a basis for this extended work. The lyrical opening resembles a pastorale. The work takes us through a number of themes, moods and styles in its thirteen and a half minute duration.
The remaining pieces heard here are short but nevertheless powerful; the title Le Calme of the first of the Trois Morceaux is somewhat incongruent with the feisty nature of some of the music. The Sérénade Mélancolique has a Spanish feel and a dancing character. The last of the three pieces, Le Tourbillon, is sparkling and somewhat cheeky.
The final work of the disc is a dazzling moto perpetuo, once again illustrating Andersen’s technical abilities. This is a dark and fast-moving work which keeps listeners on the edge of their seats.
Again, the quality of playing here is consistently excellent. Jensen and Stengaard demonstrate a sensitive understanding of Andersen’s compositional style. Their playing gives life to the music and is highly entertaining throughout.
Carla Rees


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