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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Sorry, your blog cannot share posts by email. 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. Skip to main content. Jarrell risks over-indulging the defining features of his idiom – fast and febrile at one extreme, quietly whispering at the other.
It works because there are no half-measures: 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: It really is insulting. valbavie
I mean, really, how can this be? About Patrons The Lists List of compositions reviewed on 5: Gramophone products and those of specially selected partners from the world of music.
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 dslbavie minutes in is like a fanfare reduced to fragments. There was also a large ensemble piece which was audibly a grab-bag of bits of Favourite Twentieth Conderto Classics a bit of the Ligeti Five Pieces here, a bit of that there.
I previously encountered his work on a program split with Kurtag!! Otherwise, my eyes rolled upwards at the vaguely Herrmannesque opening. These three works provide a well balanced programme, and high standards of playing and recording combine to make this a release to be reckoned with.
After this, Michael Jarrell’s …un temps de silence… and Matthias Pintscher’s Transir are a good deal more intense. But there’s enough drama to keep the piece in focus, and Pahud’s way with its xalbavie flurries and withdrawn musings is mesmerisingly fastidious. Add a Comment Click here to cancel reply.
Proms 2011: Marc-André Dalbavie & Elliott Carter – Flute Concertos (UK Première)
Dalbavie seems intent on aiming the flute on a trajectory that seeks to reincarnate the Flight of the Bumblebee. 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.
The trumpet was not muted, and there were no balance problems. 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.
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? But there the similarities end. 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 yet more spiralling scales and arpeggios that speak more of showing off than of virtuosity.
Like other high-profile wind players, Emmanuel Pahud has sought to compensate for the dearth of fulte concertos by commissioning contemporaries. If you are a library, university or other organisation that would be daalbavie in an institutional subscription to Gramophone please click here for further information.
Dalbavie; Jarrell; Pintscher Flute Concertos |
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. Related Posted on July 29, by 5: Contact Submitting music to 5: Posted on July 29, by 5: 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.
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. But each and every time, barely after a few notes have been uttered, the nascent melody is quashed and everything twirls off somewhere else. A bit like swearing at a monk, the rudeness proves itself impotent, and the relationship evolves into something rather uncanny.
Anonymous March 25, Thank you.