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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The trumpet was not muted, and there were no balance problems. And this drivel is being presented — by leading performers and institutions, some of whom must surely know better — as important work by a leading composer?
Gramophone’s expert reviews easier than ever before. 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: Jarrell risks over-indulging the defining features of his idiom – fast and febrile at one extreme, quietly whispering at the other.
Whether you want to see what we think of today’s latest releases or discover what our critics thought of your favourite recordings from the past, you will find xoncerto all in our full-searchable Concertp Database. There was a quartet 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.
After it, Dalbavie’s unaffected warmth seems even more seductive than it otherwise might. A bit like swearing at a monk, the rudeness proves itself impotent, and the relationship evolves into something rather uncanny.
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. It works because there are no half-measures: The all-time greats Read about the artists who changed the world of classical music.
Twitter Tweets by 5against4. 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. About Patrons The Lists List of compositions reviewed on 5: Contact Submitting music to 5: The texture bristles with the far-off presence of percussion woodblocks at first, rototoms laterand through the first half of the piece, the orchestra is allowed to project significantly but never seems terribly robust; an attempted coup around six minutes in is like a fanfare reduced to fragments.
Rendered totally unable to fly, the flute ends up skittering around like a moth in an unpredictable wind, ultimately reduced to a demonstration of mere velocity and valbavie more spiralling scales and arpeggios valbavie speak more of showing off than of virtuosity.
I previously encountered his work on a program split with Kurtag!! It really is insulting.
Anonymous March 25, Thank you. A beautiful and rather moving piece, it shows Carter to be as bold and impressively thought-provoking as ever. There are positive aspects, insofar as the relationship between the flute and orchestra is sensitively handled, and the brief shadings of Honegger-esque harmony early on are nice.
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Dalbavie; Jarrell; Pintscher Flute Concertos
Otherwise, my eyes rolled upwards at the vaguely Herrmannesque opening. Add a Comment Click here to cancel reply. Dalbavie seems intent on aiming the flute on a trajectory that seeks to reincarnate the Flight of the Bumblebee. But there’s enough drama to keep the piece in focus, and Pahud’s way with its intricate flurries and withdrawn musings is mesmerisingly fastidious.
Related Posted on July 29, by 5: I mean, really, how can this be?
Despite first appearances, there are commonalities between the two works. Gramophone products and those of specially selected partners from the world of music. But each and every time, barely after a few notes have been uttered, the nascent melody is quashed and everything comcerto off somewhere else.
Proms Marc-André Dalbavie & Elliott Carter – Flute Concertos (UK Première) – |
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 dalbaie there. 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.
Sorry, your blog cannot share posts by email. Anonymous November 8, A belated note on the Dalbavie, which I only got around to recently, but I am compelled to share in flutd dismay. They lumber around, moving forward in shuffles, and on the very rare occasions when they wrestle attention away from the flute, their gruff material fizzles quickly.
These three works provide a well balanced programme, and high standards of concreto and recording combine to make this a release to be reckoned with. But there the similarities end. To that end, both also place greatest importance on the surface of the music, concerrto the listener first and foremost to place their focus on its undulations.
Both eschew the contemporary practice of opting for descriptive names; the bald title Flute Concerto has connotations of its own, of course, but nonetheless suggests that deeply programmatic content is not the order of the day. 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. This is indeed profoundly chilly music, constantly on the verge of freezing solid, never thawing into expansiveness.
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