Carl Vine: Sonata for Flute
Ian Clarke: Orange Dawn
Paul Shoenfield: Achat Sha’alti; Ufaratsta [Valentine]
Carl Vine: Sonata for Flute and Piano
Sofia Gubaidulina: Allegro Rusticana; Klí¤nge des waldes [Sounds of the Forest]
Dan Welcher: All the Words to All the Songs
Joseph Schwantner: Soaring; Black Anemones
Paul Ben-Haim: Three Songs Without Words
Glen B. Cortese: I Dream’d in a Dream
Anne Boyd: Goldfish Through Summer Rain
The combination of Alexa Still on flute and Stephen Gosling on piano creates a veritable “Brangelina” of musical technique. Both performers are constantly praised for their technical prowess and amazing ability to make the most challenging works sound effortless and easy. Reviewers far and wide agree that Alexa Still doesn’t make anything sound tough. She gracefully sprints and hurdles through menacing challenges without seeming to break a sweat. On a similar note, I once heard Stephen Gosling begin a sentence with “When I played Eonta…” and I just kind of blanked out after that. It just wasn’t something I’d ever heard a pianist say before. Added to this technical superiority comes an equally superior sensitive musical side. This disc isn’t just flautistic fireworks.
There is a perception that flute music is light and twee stuff. Yes, there are plenty of twee flute works out there, recorded ad nauseam. My better 15/16ths plays flute and I have several of “those” recordings. This disc is a delicious collection of works that are less known but still connected in spirit to those countless Parisian salon discs that include yet one more recording of Poulenc’s sonata. The title work for the disc, Carl Vine’s Sonata for flute and piano, is a delightful and serious work that I want to hear more often. Luckily, I get to keep this disc.
The two selections by Gubaidulina are more conservative earlier pieces that show the underpinnings of her colorful and crafty later works. Of Schwantner’s two pieces, Black Anemones sounds more restrained than his better-known large ensemble works. Soaring is a treacherous journey despite its rather mellow title. To my ears, it sounds like a beginning and doesn’t really sound complete after its brief 1:35 runtime. Paul Schoenfield is the third composer with two works on the disc and it feels good to hear something other than his ubiquitous (yet enjoyable) Café Music. Achat Sha’alti and Ufaratsta show two sides of his Jewish music inspirations. Achat Sha’alti is beautiful, sometimes mournful, and rich while Ufaratsta bubbles along with joyous energy. Dan Welcher’s extended quote of “I Can’t Help Falling in Love with You” in All the Words to All the Songs seems downright cheeseballish but it is instead intended as a elegy for an old friend.
There really isn’t anything, composition-wise or performance-wise, on this disc that I didn’t enjoy. The opening track of Orange Dawn by Ian Clarke sucked me in right away and I’ve been spinning the disc a lot ever since. Paul Ben-Haim’s Three Songs Without Words are wonderfully lyrical. I Dream’d in a Dream by Glen B. Cortese balances the dark and dramatic side with the hopeful in an effectively fluid form. The closing track, Anne Boyd’s Goldfish Through a Summer Rain is a picturesque closer played with much sensitivity. Good stuff abounds on this disc. If you like flute music or hate it, I’m betting that you will enjoy this CD.