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Dedicated to Barrère -
Volume Two Philippe GAUBERT (1879-1941)
Sonatine quasi Fantasia (Hommage à Schumann) (1937) [10:49]
Invocation (Danse de prêtresses) (1921) [3:23] Leonardo de LORENZO (1875-1962)
Sogno Futuristico Op.34 No.17 from 18 Capricci for flute alone
(1923) [6:45] Christiaan KRIENS (1881-1934)
La Nymphe Bocagère (1909) [9:00] H Maurice JACQUET (1885-1954)
Nocturne for flute and harp (from Prelude in E flat minor by J.S. Bach) (published
1928) [3:40] * Wallingford RIEGGER (1885-1961)
Suite for flute alone Op.8 (1929) [7:09] Charles Tomlinson GRIFFES (1884-1920)
Poème (1919) (arr. Barrère) [9:16] Marion BAUER (1882-1955)
Forgotten Modes Op.29 (c.1938) [6:36] Richard Franko GOLDMAN (1910-1980)
Two Monochromes (1939) [3:25] Albert ROUSSEL (1869-1937)
Andante and Scherzo for flute and piano Op.51 (1934) [4:25] Edgard VARÈSE (1883-1965)
Density 21.5 (1936) [3:50] Leone Buyse (flute)
Martin Amlin (piano)
Paula Page (harp)*
rec. all works with piano at Boston University Concert Hall July 2004, Density
21.5, recorded in Stude Concert Hall, Rice University, August 2007 and the remainder
in Duncan Recital Hall, Rice University, January 2005 CRYSTAL RECORDS
CD716 [68:59]
The first piece of
good news here is that Crystal Records has finally recognised
the staple. Gone, for this release at least, is the ever-unfolding
paper and in comes a fine looking booklet held together in the
accustomed way. The second piece of good news is that this release
is as enjoyable an affair as volume one in the series [see review].
Barrère was so important and
influential a flautist that the list of works dedicated to him
is suitably compendious. Only fellow flautist Philippe Gaubert’s
name appears on both the discs – his Romance of 1905
is in the earlier volume. Otherwise the repertoire embraces
broadly Franco-American composers, as did the earlier volume,
though here the balance is more evenly split.
Gaubert
starts us with his Sonatine quasi Fantasia, which
bears a subtitled homage to Schumann. This is more evident in
the second of the two movements, a brilliantly conceived affair
that tests breath control and rewards liquid legato passages.
The first movement has a real Fauréan sensibility. De Lorenzo’s Sogno
Futuristico, an excellent title for 1923, derives from his
Eighteen Capricci for solo flute; it ranges freely over some
pitch wobbles and some tonguing demands – taking in fast and
slow sectional writing and sounding terrifically difficult.
Christiaan Kriens constructed a powerfully attractive statement
with his 1909 La Nymphe Bocagère. The opening piano statements
are ripely romantic but we soon move on to more obviously terpsichorean
writing, fulsome and evocative – here’s a warm, languid and
enjoyable piece to lighten any flautist’s recital.
Harpist Paula Page
replaces pianist Martin Amlin for Jacquet’s lovely Nocturne,
patterned after Bach’s E flat minor Prelude. By the time we reach
Riegger’s Suite for solo flute we arrive at twelve tone influenced
writing, even though the patterning of the four movements is essentially
of the baroque variety. I’m not sure what “Americanist goals” are
with regard to Riegger and seriously doubt whether he meets them
in that sense in this work – the quotation is from the booklet
notes – but it’s an enjoyable work with a rarefied and refined
slow movement. The Griffes was not actually dedicated to Barrère
but it was arranged by him and was in effect a joint effort. Buyse’s
expressive palette is rightly wide here and Barrère’s piano reduction
works eloquently.
Marion Bauer (1882-1955)
was an almost exact contemporary of Bax but the Greek modes she
embraced in Forgotten Modes wouldn’t necessarily have been
Bax’s cup of tea. Not that they’re unattractive – far from it;
vital, very succinct, if not especially memorable. Roussel’s Andante
and Scherzo is also brief but aerial and full of dynamism.
Barrère didn’t often play Varèse’s Density 21.5 but it nevertheless
makes a fitting envoi to another extremely well selected programme,
one presented with skill and care.
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