Showpieces for Flute and Piano
View record and artist detailsRecord and Artist Details
Composer or Director: Maurice Ravel, Albert (Charles Paul Marie) Roussel, André Jolivet, George Enescu, Fernande Le Borne, Gabriel Fauré, Frank Martin, Claude Debussy
Label: Philips
Magazine Review Date: 10/1990
Media Format: CD or Download
Media Runtime: 59
Mastering:
DDD
Catalogue Number: 426 248-2PH
Tracks:
Composition | Artist Credit |
---|---|
Fantasia brillante sur Carmen (Bizet) |
Fernande Le Borne, Composer
Fernande Le Borne, Composer Irena Grafenauer, Flute Michael Grandt, Piano |
Pièce en forme de habanera |
Maurice Ravel, Composer
Irena Grafenauer, Flute Maurice Ravel, Composer Michael Grandt, Piano |
Fantaisie |
Gabriel Fauré, Composer
Gabriel Fauré, Composer Irena Grafenauer, Flute Michael Grandt, Piano |
Syrinx |
Claude Debussy, Composer
Claude Debussy, Composer Irena Grafenauer, Flute |
Cantabile e presto |
George Enescu, Composer
George Enescu, Composer Irena Grafenauer, Flute Michael Grandt, Piano |
Joueurs de flûte |
Albert (Charles Paul Marie) Roussel, Composer
Albert (Charles Paul Marie) Roussel, Composer Irena Grafenauer, Flute Michael Grandt, Piano |
Chant de Linos |
André Jolivet, Composer
André Jolivet, Composer Irena Grafenauer, Flute Michael Grandt, Piano |
Ballade |
Frank Martin, Composer
Frank Martin, Composer Irena Grafenauer, Flute Michael Grandt, Piano |
Author: Christopher Headington
The Carmen Fantasy by Francois Borne is an attractive salon piece as presented here, if no more than that. The familiar (but more subtle) Ravel, Roussel and Debussy miniatures are no less successful (the latter is particularly good), as is the pair of pieces by Enescu and the Faure Fantaisie, which is predictably tasteful but at five minutes is a shorter and more neutral work than its title suggests.
More substantial music comes in the Ballade by Frank Martin (later orchestrated but here played in its original form) and Jolivet's imaginative Chant de Linos, written in 1944 and intended to suggest an incantatory lament as of ancient Greece; as a young man, Jolivet was associated with Messiaen and, like him, a radical to whom Boulez, himself the composer of a Flute Sonatina, may owe something of his language.
Irena Grafenauer's tone is well varied, and though her playing is not as sensuously beautiful or suggestive of mystery as that of some flautists, these performances are well managed. Her pianist Michael Grandt, while thoughtful and reliable, tends to be heavy-handed and the recorded sound is too close to be really atmospheric.'
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