French Works for Flute
Camille SAINT-SAËNS (1835-1921)
Romance, Op 37 in D-flat major (1871) [6:50]
César FRANCK (1822-1890)
Sonata for piano and violin (1886, edited for piano and flute by Jean-Pierre Rampal) [28:57]
Camille SAINT-SAËNS
Airs de ballet d’Ascanio (1887-88) [4:09]
Charles-Marie WIDOR (1844-1937)
Suite, Op 34 (1877) [18:22]
Maurice DURUFLÉ (1902-86)
Prélude, récitatif et variations, Op 3 (1928) [12:15]
Adam Walker (flute)
Timothy Ridout (viola)
James Baillieu (piano)
rec. 11-13 September 2020, Henry Wood Hall, London
CHANDOS CHAN20229 [71:01]
Two months after the recording sessions for the album Belle Époque, Adam Walker was back at the Henry Wood Hall to record more French music, this time with the pianist James Baillieu. The results are similar: some less familiar works and a well-known work in an unusual arrangement, all given a nicely atmospheric performance and recording.
First comes the Romance by Saint-Saëns. The clarity of this recording and of Walker’s playing is telling, and his bright tone is highly rewarding. Next, César Franck’s
Violin Sonata. This popular work has been transcribed many times, mainly for viola, cello, flute or oboe; other arrangements include a version for piano trio (MGD 9031855-6). It is the first time I have come across a version for flute, and it works well. The mellifluous flute tone suits the music, and Jean-Pierre Rampal’s arrangement retains the heart of the original work. I find this thoroughly enjoyable version more rewarding than that for cello, even in the expert hands of Steven Isserlis in his recent recording (BIS-2522).
Another happy arrangement is the two Airs de ballet d'Ascanio, short pieces successfully lifted from Saint-Saëns’s opera of 1890 based on the story of Benvenuto Cellini.
I have two highlights here, both new to me. Charles-Marie Widor’s Suite for flute and piano is a splendid four-movement work. The flute is treated wonderfully well; clearly there is more to Widor than his organ symphonies. An opening Moderato gives way to a short atmospheric Scherzo where Walker’s fingers dance along his instrument. The following Romance will leave you wanting more with its languid harmonies. The Final ramps up the tempo again, and there is a well executed slower section.
The second unexpected highlight is Maurice Duruflé’s lovely Prelude, recitatif et variations. Walker and Baillieu are joined, to great effect, by the violist Timothy Ridout. The work is a discovery because I was only aware of Duruflé’s choral and organ music. This evocative piece of chamber music (sadly, his sole piece in this genre) dates from when he was still a student at the Conservatoire, and was premiered at the Société national de musique on the 12th January 1929. The viola adds a timbre, and the flute’s beautiful hymn-like tune shimmers above the piano.
The performances are all very good indeed. The players understand each other, and the balance cannot be faulted. The crisp, clear acoustic is ideal: each of the instruments is captured to its best. This atmospheric and highly pleasing recital will bring much enjoyment in the future. Roger Nichols’s detailed and informative booklet notes give insight into the composers and their music. A very fine disc – the performers seem perfectly in tune with each other and the music.
Stuart Sillitoe
Previous review: John France
