Emilía Rós Sigfúsdóttir: Portrait

Author: 
Ivan March
Emilía Rós Sigfúsdóttir: PortraitEmilía Rós Sigfúsdóttir: Portrait

Emilía Rós Sigfúsdóttir: Portrait

  • Morceau de concours
  • Sicilienne
  • Chant de Linos
  • Sonatine
  • Introduction and Variations (Trock'ne Blumen from
  • Intermezzo from Dimmalimm
  • Rising from the Ashes

The flute stands out here as being the most flexible instrument in the woodwind family, capable of prodigious feats of virtuosity, and so it proves in the performance of Jolivet’s Chant de Linos, with its astonishing cascading roulades, for which the piano provides a firm backing. But the programme opens with Schubert’s innocent variations on a simple vocal melody, which shows how attractive the combination of flute and piano can be without histrionics. The seven variations are simply devised and have the character of classical variations of their time. Yet the work closes with the composer’s most fetching idea, as if Schubert were keeping it up his musical sleeve for a memorable finale.

Pierre Sancan’s Sonatine again demands great virtuosity from flute and piano alike but has real charm; it also has a haunting slow movement that shows flautist and pianist at their most touchingly sensitive. The two lovely Fauré pieces, Morceau de concours and the familiar Sicilienne, are no less captivating and just as delightfully played, while Sveinsson’s Intermezzo from Dimmalimm continues the seductive mood. Throughout the programme, both artists join to create a perfect partnership. The flute timbre is beautifully caught by the recording and the balance is nigh-on perfect. A stimulating disc.

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