Search - Moscheles, Donizetti, Grauwels :: Romantic Flute Concertos

Charming Trifles

J Scott Morrison | Middlebury VT, USA | 09/24/2003

(4 out of 5 stars)

"I can't think of a flute-and-orchestra piece that is anything but graceful, charming, pleasant and just the least little bit trivial. Well, there IS the Nielsen Flute Concerto, but much of the drama there is provided by the naggingly intrusive trombone and timps. This CD contains ten concerted pieces for solo flute (or flute and one other instrument), all from the Romantic era. They are all played gracefully, melodiously, musically, accurately, charmingly by the Belgian flute virtuoso, Marc Grauwels, who seems these days to be recording just about everything post-Baroque and soloistic for his instrument. He is ably supported by the Orchestra of Belgian Radio/Television (or as it's listed in French, the Orchestre symphonique de la Radio et Télévision Belge), conducted by André Vandernoot. It starts off with a 'Concertante for Flute and Oboe' by Ignaz Moscheles (1794-18770) best known for his mindlessly virtuosic piano pieces. The very able oboist here joining Grauwels is Joris Van den Hauwe. There are some breakneck flourishes in thirds by the two soloists. Then comes the 'Concertino in D major' by Donizetti (1797-1848; amusingly there's a typo in the booklet that has Donizetti born in 1707, which would certainly make him the longest-lived composer on record). This 10-minute piece is essentially a bel canto aria, complete with canary-like roulades. 'Pan et les oiseaux, Op. 15' ('Pan and the birds') by Jules Mouquet (1867-1949) follows. Even though Mouquet lived further into the 20th century than any of the other composers represented here, his music fits squarely in the Gounod/Massenet camp. A brilliant showpiece, 'Tarentelle' by Camille Saint-Saëns (1835-1921) couples the flute with clarinet, superbly played here by Guy Vanderborght. This is an exhilarating piece in 6/8 that dances its way along for about seven minutes. Then come four pieces by Gabriel Fauré (1845-1924) all arranged for flute and orchestra by the distinguished Israeli conductor Yoav Talmi, currently music director of both the Hamburg and Québec Symphonies. The pieces are 'Berceuse, Op. 16,' 'Morceau de concours,' the familiar 'Sicilienne' (from his suite, 'Pelléas et Mélisande'; I was not able to immediately detect any difference between Talmi's orchestration and that of Fauré) and 'Fantaisie, Op. 79.' All of the Fauré pieces are serenely beautiful and marvelously played by Grauwels and his colleagues. The most forward-looking of any of the pieces offered here is Ravel's 'Pièce en forme de Habanera' (arranged by A. Hoeré) which is not so much 'romantic' as impressionistic. It comes out of the same faux-Spanish style as Ravel's irreplaceable 'Rhapsodie espagnole' and is here played ravishingly by both soloist and orchestra. For me this is the high point of the disc.The finale is provided by a piccolo morsel, 'Le merle blanc, Op. 161' ('The White Blackbird') by Eugène Damaré (1840-1919) which sounds for all the world, initially, like a Sousa march. It reminded me of the repeat of the trio of 'Stars and Stripes Forever' with its piccolo obbligato. A romp. Grauwels is certainly a fine flutist. He has, like many other contemporary flutists, taken to using the overripe vibrato made so familiar by James Galway. He uses it particularly when he is playing mezzo-forte or louder. Many people do not mind this characteristic and to them I recommend this disc. To others, like me, whose teeth are put on edge by it, I suggest caution. Still, there is no denying Grauwels' virtuosity and musicianship. TT=59:15Scott Morrison"

Very underrated flutist

Sebastian Winston | San Diego, CA | 07/03/2009

(5 out of 5 stars)

"Belgian flute virtuoso, Marc Grauwels is amazing. His pitch, time, line, control and technique are impeccable. As a professional flutist myself, I can only sit back and admire his work. He is clearly one of the best in the world. One can only hope however, that he would develop a more forward looking perspective that embraced contemporary flute music and extended techniques. It would be wonderful if he could spend some time with Pierre-Yves Artaud in Paris or perhaps Anne LaBerge in Amsterdam to study what has happened to flute technique in the last 100 years or so! The music world would be a richer place if he were to embrace the music of our time."