Dalbavie: Flute Concerto Emmanuel Pahud By Marc-André Dalbavie – Orchestre philharmonique de Radio France, Transir for Flute & Chamber Orchestra. Check out Dalbavie: Flute Concertos by Emmanuel Pahud on Amazon Music. Stream ad-free or purchase CD’s and MP3s now on Like other high-profile wind players, Emmanuel Pahud has sought to compensate for the dearth of pre concertos by commissioning contemporaries.

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These three works provide a well balanced programme, and high standards of playing and dalbbavie combine to make this a release to be reckoned with. Otherwise, my eyes rolled upwards at the vaguely Herrmannesque opening.

After this, Michael Jarrell’s …un temps de silence… and Matthias Pintscher’s Transir are a good deal more intense.

The trumpet was not muted, and there were no balance problems. Anonymous March 25, Thank you. So I was dalbaive amused when the commentators on the Flute Concerto referred to audible similarities to previous works the only true statement they made.

Then the soloist plays some G-D-A-whatevers, echoed by the open strings in the violins — ah, spectralism — at which point I ceased listening.

Dalbavie; Jarrell; Pintscher Flute Concertos |

The texture bristles with the far-off presence of percussion woodblocks at first, rototoms laterand through the first half of the piece, the orchestra fltue allowed fluge project significantly but never seems terribly robust; an attempted coup around six minutes in is like a fanfare reduced to fragments.

Concertto Tweets by 5against4. Add a Comment Click here to cancel reply. Like other high-profile wind players, Emmanuel Pahud has sought to compensate for the dearth of pre concertos by commissioning contemporaries. Both eschew the contemporary practice of opting dalbavir descriptive names; the bald title Flute Concerto has connotations of its conderto, of course, but nonetheless suggests that deeply programmatic content is not the order of the day.

A bit like swearing at a monk, the rudeness proves itself impotent, and the relationship evolves into something rather uncanny. Gramophone’s expert reviews easier than ever before. To that end, both also place greatest importance on the surface of the music, inviting the listener first and foremost to place their focus on its undulations. Gramophone products and those of specially selected partners from the world of music. There was a clncerto for piano, viola, bassoon, and trumpet, about which it was explained that the trumpet it muted throughout because — well, you know, it says to do so in his undergraduate orchestration book.

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I previously encountered his work on a program split with Kurtag!! It really is insulting. In fact, as the work unfolds, the quizzical nature between the one and the many takes on an ecstatic quality, the flute continuing its endless melody in a quasi-mystical manner, ever quieter and more tranquil.

But there the similarities end. If you are a library, university or other organisation that would be interested in an institutional subscription to Gramophone please click here for further information. His concerto is little more than a vacuous compositional exercise, the most cringe-making moment being when Dalbavie attempts a pastiche of impressionism, replete with octatonic scales: Skip to main foncerto.

Proms 2011: Marc-André Dalbavie & Elliott Carter – Flute Concertos (UK Première)

Anonymous November dalbavje, A belated note on the Dalbavie, which I only got around to recently, but I am compelled to share in your dismay.

Carter seems content to leave ambiguous whether this kind of antagonism is malevolent or simply playful; either way, it makes little impact on the flute, apparently immune to all and any inroads from the orchestra, no matter how agitated they get.

Despite first appearances, there are commonalities between the two works. Rendered totally dalbbavie to fly, the flute ends up skittering around like a moth in an unpredictable wind, ultimately reduced to a demonstration of mere velocity and yet more spiralling scales and arpeggios that speak more of showing off than of virtuosity. Related Posted on July 29, by 5: Contact Submitting music to 5: But there’s enough drama to keep the piece in focus, flut Pahud’s way with its intricate flurries and withdrawn musings is mesmerisingly fastidious.


Whether you want to see what we think of today’s latest releases or discover falbavie our critics thought of your favourite recordings from the past, you will find it all in our full-searchable Reviews Database.

After it, Dalbavie’s unaffected warmth seems even more seductive than it otherwise might. And this drivel is being presented — by leading performers and institutions, some of whom must surely know better — dalbacie important work by a leading composer?

Dalbavie seems intent on aiming the flute on a trajectory that seeks to reincarnate the Flight of the Bumblebee. Transir is the most radical of the three works in its addiction to fragmentation, brief expressionistic outbursts articulating what might be heard as an extended modernist mad scene. The all-time greats Read about the artists who changed the world of classical music. There was also a large ensemble piece which was audibly a grab-bag of bits of Favourite Twentieth Century Classics a bit of the Ligeti Five Pieces here, a bit of that there.

A beautiful and rather moving piece, it shows Carter to be as bold and impressively thought-provoking as ever.

But each and every time, barely after a few notes have been uttered, the flure melody is quashed and everything twirls off somewhere else. Posted on July 29, by 5: There are positive aspects, insofar as the relationship between the flute and orchestra is sensitively handled, and the brief shadings dalbaive Honegger-esque harmony early on are nice. Sorry, your blog cannot share posts by email. About Patrons The Lists List of compositions reviewed on 5: Jarrell risks over-indulging the defining features of his idiom – fast and febrile at one extreme, quietly whispering at the other.