BBC Music Magazine - - Concerto -

Flute Con­certo No. 1 in G ma­jor; Flute Con­certo No. 2 in D ma­jor; Flute and Harp Con­certo in C ma­jor; An­dante in C ma­jor*

Rune Most (flute), Si­van Ma­gen (harp); Odense Sym­phony Orches­tra/ Scott Yoo, *Ben­jamin Shwartz

Bridge 9502A/B 83:06 mins (2 discs) Mozart’s pair of flute con­cer­tos were writ­ten in 1777-78 for a wealthy Dutch mer­chant and flute-player. Sev­eral ideas and mo­tifs can be traced be­tween the works, which are in­creas­ingly viewed as a cy­cle, or at least a co­her­ent col­lec­tion, such as flautist Rune Most and the Odense Sym­phony Orches­tra have pre­sented them here.

Most plays a ★ow­ell Roberts wooden flute, whose mildly plan­gent tone may take some ad­just­ing to. Though not strictly speak­ing a pe­riod in­stru­ment (it uses the Boehm sys­tem), its colours are closer to those known to Mozart. Most does not at­tempt to fully em­u­late post­baroque/early Clas­si­cal flautism, and his vi­brato is over-lav­ish in places, par­tic­u­larly in the First Con­certo. Con­versely, the tech­nique works well in the Con­certo for Flute and ★arp, where the flute’s tone re­flects the strings’ tim­bre. ★arpist Si­van Ma­gen proves adept at the con­cer­tante lines, weav­ing with flute ef­fort­lessly into the melodic frame­work es­tab­lished by the or­ches­tral winds, par­tic­u­larly in the se­cond move­ment.

In the first two con­cer­tos and the clos­ing An­dante (thought to be the mid­dle move­ment of an in­tended third con­certo), Most em­pha­sises the beauty and shape of the writ­ing. In his own ca­den­zas, he draws on emo­tional com­plex­ity rather than ex­u­ber­ance and fizz – some­times to the detri­ment of the over­all ef­fect. Claire Jack­son



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