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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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: Contact Submitting music to 5: The all-time greats Read about the artists who changed the world of classical music.

Skip cohcerto main content. Posted on July 29, by 5: A beautiful and rather moving piece, it shows Carter to be as bold and impressively thought-provoking as ever. But there the similarities end. I previously encountered his work on a program split with Kurtag!!

After this, Michael Jarrell’s …un temps de silence… and Matthias Pintscher’s Transir are a good deal more intense. Jarrell risks over-indulging the defining features of his idiom – fast and febrile at one extreme, quietly whispering at the other.

But each and every time, barely after a flutte notes have been uttered, the nascent melody is quashed and everything twirls off somewhere else.

Dalbavie; Jarrell; Pintscher Flute Concertos

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 concerti minutes in is like a fanfare reduced to fragments. About Patrons The Lists List of compositions reviewed on 5: 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.


Carter seems content dalbvaie 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. 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.

Gramophone products and those of specially selected partners from the world of music. After it, Dalbavie’s unaffected warmth seems even more seductive than it otherwise might.

Anonymous March 25, Thank you. Transir is the most radical of the three works in its addiction conncerto fragmentation, brief expressionistic outbursts articulating what lfute be heard as an extended modernist mad scene. Related Posted on July 29, by 5: Add a Comment Click here to cancel reply.

There was also a large ensemble piece which was audibly dqlbavie grab-bag of bits of Favourite Twentieth Century Classics a bit of the Ligeti Five Pieces here, a bit of that there.

If you are a library, university or other organisation that would be interested in an institutional subscription to Gramophone please click here for further information. Twitter Tweets by 5against4. Gramophone’s expert reviews easier than ever before. 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.

A bit like swearing at a monk, the rudeness proves itself impotent, and the relationship evolves into something rather uncanny. Dlbavie other high-profile wind players, Emmanuel Calbavie has sought to compensate for the dearth of pre concertos by commissioning contemporaries.


Otherwise, my eyes rolled upwards at the vaguely Herrmannesque opening. Dalbavie seems intent on aiming the flute on a trajectory that seeks to reincarnate the Flight of the Bumblebee.

It really is insulting. I mean, really, how can this be? Then the soloist plays some G-D-A-whatevers, concsrto by the open strings in the violins — ah, spectralism — at which point I ceased listening. 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?

Proms Marc-André Dalbavie & Elliott Carter – Flute Concertos (UK Première) – |

Anonymous November 8, A belated note on the Dalbavie, which I only got around to recently, but I am compelled to share in your dismay. So I was dimly amused when glute commentators on the Flute Concerto referred to audible similarities to previous flutw the only true statement they made.

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. 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.