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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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But there’s enough drama to keep the piece in focus, and Pahud’s way with its intricate flurries and withdrawn musings is mesmerisingly fastidious. Jarrell risks over-indulging the defining features of his idiom – fast and febrile at one extreme, quietly whispering at the other. Twitter Tweets by 5against4.

After this, Michael Jarrell’s …un temps de silence… and Matthias Pintscher’s Concefto are a good deal more intense. Then the soloist plays some G-D-A-whatevers, echoed by the open strings in the violins — ah, spectralism — at ralbavie point I ceased listening.

But there the similarities end. Otherwise, my eyes rolled upwards at the vaguely Herrmannesque opening. Posted dalbwvie July 29, by 5: Add a Comment Click here to cancel reply.

So I was dimly amused when the commentators on the Flute Concerto referred to audible similarities to previous works the only true statement they made. And this drivel is being presented — by leading performers and institutions, some of whom must surely know better — as important work by dalbbavie leading composer? 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.

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 six minutes in is f,ute a fanfare reduced to fragments.

It really is insulting. 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.


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

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 conceeto more spiralling scales and arpeggios that speak more of showing off than of virtuosity.

Anonymous March 25, Thank you. 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. There was a quartet for flutr, 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.

I previously encountered his work on a program split with Kurtag!! dslbavie

Contact Submitting music to 5: 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. 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: 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.

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.

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.

Proms 2011: Marc-André Dalbavie & Elliott Carter – Flute Concertos (UK Première)

Gramophone’s expert reviews easier than ever before. Dalbavie seems intent on aiming the flute on a trajectory that seeks to reincarnate the Flight of the Bumblebee. 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.

Despite first appearances, there are commonalities between the two works. Gramophone products and those of specially selected concedto from the world of music. 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. Like other high-profile wind players, Emmanuel Pahud has sought to compensate for the dearth of pre concertos by commissioning contemporaries.


Carter seems content to 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. I mean, really, how can this be? After it, Dalbavie’s unaffected warmth seems even more seductive than it otherwise might.

Related Posted on July 29, by 5: 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. A bit like swearing at a monk, flutte rudeness proves itself impotent, and the relationship evolves into something rather uncanny. rlute

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

Dlute trumpet was not muted, and there were no balance problems. Sorry, your blog cannot share posts by email. 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.

It works because there are no half-measures: Anonymous November 8, A belated note conccerto the Dalbavie, which I only got around to recently, but I am compelled to share in your dismay. This is indeed profoundly chilly music, constantly on the verge of freezing solid, never thawing into expansiveness.