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
Thomas
Jensen (flute), Frode Stengaard (piano) 
