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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Dalbavie; Jarrell; Pintscher Flute Concertos
About Patrons The Lists List of compositions reviewed on 5: Sorry, your blog cannot share posts by email. Rendered totally unable to fly, the flute ends up skittering around like a moth dabavie 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. Like other concero wind players, Emmanuel Pahud has sought to compensate for the dearth of pre concertos by commissioning contemporaries.
I mean, really, how can this be? Related Posted on July 29, by 5: Anonymous March 25, Thank you. This is indeed profoundly chilly music, constantly on the verge of freezing solid, never thawing into expansiveness. I previously encountered his work on a program split with Kurtag!! But there’s enough drama rlute keep the piece in focus, and Pahud’s way with its intricate flurries and withdrawn musings is mesmerisingly fastidious. Anonymous November 8, A conccerto note on the Dalbavie, which I only got around to recently, but I am compelled to share in your dismay.
After it, Dalbavie’s unaffected warmth seems even more seductive than it otherwise might.
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. But each and every time, barely after a few notes have been uttered, the nascent melody is quashed and everything twirls off somewhere else. The all-time greats Read about the artists who changed the world of classical music.
A beautiful and rather moving piece, it shows Carter to be as bold and impressively thought-provoking as ever. 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 it all in our full-searchable Reviews Database. Gramophone’s expert reviews easier than ever before.
The trumpet was not muted, and there were no balance problems. Otherwise, my eyes rolled upwards at the vaguely Herrmannesque opening.
Proms 2011: Marc-André Dalbavie & Elliott Carter – Flute Concertos (UK Première)
It really is insulting. And this drivel is being presented — by leading performers and institutions, some of whom must surely know concertp — as important work by a leading composer? Jarrell risks over-indulging the defining features of his idiom – fast and febrile at one extreme, quietly whispering at the other. 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.
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 bit like swearing at a monk, the rudeness proves itself impotent, and the relationship evolves into something rather uncanny.
Carter seems content xoncerto 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.
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. So I was dimly voncerto when the commentators on the Flute Concerto referred to audible similarities to previous works the only true statement they made.
Proms Marc-André Dalbavie & Elliott Carter – Flute Concertos (UK Première) – |
Gramophone products and those of specially selected partners from the world of music. 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: But there the similarities end. Despite first appearances, there are commonalities between the two works. After this, Michael Jarrell’s …un temps de silence… and Matthias Pintscher’s Transir are a good deal more intense. 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.