Category: CD Reviews

Angela Massey, who works as an orchestral musician, solo artist, chamber musician, and instructor, is currently based in New York City. On this album, The Elements, Massey has chosen to include works that relate to the classical elements of earth, water, wind, and fire. The works are generally modern, and many American composers are featured. There are some works from the standard repertoire as well as some that might be less familiar to the listener.

Of particular interest are Dorff’s April Whirlwind and Clarke’s Orange Dawn, which are well-served by Massey’s capable technique and consistent tone quality. The ensemble between Massey and Sargsyan, the pianist, is quite good. As most of the works on this recording include piano, the listener has ample opportunity to enjoy this pairing.

The final work on this album, Schnyder’s The Four Elements, does a nice job of summing up the overarching theme of earth, water, wind, and fire.

The Elements

Angela Massey, flute
Vahan Sargsyan, piano

Joseph Schwantner – Black Anemones

Jean-Michel Damase – Paysages

1. Andantino
2. Allegro

• Allegro moderato

1. Allegretto moderato
2. Molto moderato
3. Allegro giocoso

• Vivace energico
• Allegretto tranquillo

1. Andante

Katherine Hoover – Reflections

Robert Beaser – The Old Men Admiring Themselves in the Water

Shulamit Ran – East Wind

Daniel Dorff – April Whirlwind

Ian Clarke – Orange Dawn

Daniel Schnyder – The Four Elements

1. Earth/Gaia
2. Kyklos Aquae

• Aulos

Il Fuoco/’Feuertanz’

Ghost Icebreaker is a collaboration between flutist Helen Bledsoe (of Ensemble Musikfabrik based in Cologne) and St. Petersburg pianist Alexey Lapin. This album is remarkable in that it features both instruments in free improvisation. However, this is not jazz improvisation as many might expect.

There are some surreal moments on this recording, which are partially created through expertly-executed extended techniques and a variety of tone colors by Bledsoe. It is apparent that she and Lapin are long-time collaborators (for a decade, in fact), as it is easy to hear the conversation between them during these interactive improvisations.

Overall, this is a fascinating album, full of interesting, contemporary sounds in the context of the traditional flute/piano duo. The improvisational aspect of this recording highlights an additional layer of creativity. Learn more about Bledsoe and her work at helenbledsoe.com.

Ghost Icebreaker
CD LR 704
Leo Records

Helen Bledsoe, flute
Alexey Lapin, piano

Snow
The Rising Star of the Falling Sky
Settlement
Ghost Icebreaker
White Oranges
December (One Man’s Day Is Another Man’s Dusk)
Into Thin Air

Music by Helen Bledsoe and Alexey Lapin

On this recording, Noteworthy Duo (Lisa Schroeder, flute and Michael Anthony Nigro, guitar) present a handful of Latin American works. Of special interest is the José Luis Merlin work, Agua de Trapiche, which was commissioned by the pair. For this piece, Merlin took inspiration from a small town in Argentina where he has pleasant childhood memories. There are four movements, each depicting different forms of water in Trapiche. With scenes ranging from a lake to a still pool of water to rain to the Rio Grande, this is a really lovely work.

The variety of different traditional Latin rhythms, ranging from slow to quick, found on this recording is also engaging. The contrast between the various movements of the works as well as the works themselves means that this recording is over well before the listener is ready.

Noteworthy Duo plays with precision and sensitivity. Schroeder’s phrasing and ability to create a long, lyrical line is especially impressive. Their decision to end with a work for guitar and alto flute leaves the listener with a calm, serene mood; the title of this recording seems particularly apt.

As In Dreams…
NDM002

Noteworthy Duo
Lisa Schroeder, flute
Michael Anthony Nigro, guitar

José Luis Merlin – Agua de Trapiche
I. Lago de La Florida
II. El Remanso
III. Danza de la lluvia
IV. Rio Grande

Ernesto Cordero – Fantasia Mulata

Christopher Caliendo – Tristeza

Celso Machado – From Musiques Populaires Brésiliennes
Pé de moleque
Sambossa

Jorge Cardoso – Brota un lament sentido

Máximo Diego Pujol – Suite Buenos Aires
I. Pompeya
II. Palermo
III. San Telmo
IV. Microcentro

Ariel Ramirez, arr. José Luis Merlin – Alfonsina y el mar

Canadian jazz flutist Bill McBirnie has released a new album which is organized as an organ trio. The unmistakable sound of the Hammond B3 organ is combined with flute and drums to present a variety of jazz tunes.

McBirnie, who is based in Toronto, has built a solid career as a jazz flutist. He has a string of awards to his credit, including the Jazz Flute Soloist, Masterclass, and Big Band competitions of the National Flute Association; he has also won a series of accolades in his native Canada. His calendar of gigs listed on his website shows that he’s performing at an impressive pace. In addition to contributing to the woodwinds column of the Canadian Musician magazine, he also serves as the resident jazz flute specialist at Sir James Galway’s official website. McBirnie has combined his classical training (which includes study with teachers such as Samuel Baron and Robert Aitken) with jazz performance. In a recent interview with Isaac Davis Junior (http://blogs.juniorscave.com/2014/04/03/bill-mcbirnie-of-the-bill-mcbirnie-trio-2/), he states that he has cultivated a “generic” style that he can adjust to fit any musical situation. This flexibility serves him well on this album, which features a variety of jazz styles.

This album includes tunes ranging from bossa nova to swing to bebop styles. McBirnie’s solid technical capabilities and imaginative improvisation both shine. The Hammond organ, expertly performed on this album by Bernie Senensky, provides an excellent complement to the flute sound. While it might not be the combination you would expect to hear on a flute album, the sounds work very well together. McBirnie has released five other albums over the past fifteen years which are all available at CDBaby and iTunes.

Learn more about Bill McBirnie at his website: www.extremeflute.com.

The Bill McBirnie Trio
Bill McBirnie, flute
Bernie Senensky – Hammond B3 organ
Anthony Michelli – drums
Find Your Place

So In Love
Yes Indeed!
Sister Sadie
Oh! Darling
Minority
Jeannine
Gee Baby, Ain’t I Good To You
Yes Or No
Soy Califa
Rhythm-A-Ning
Find Your Place

Martha Councell-Vargas, Assistant Professor of Flute at Western Michigan University, has assembled an album of charming Latin American music for flute. Most of these works combine European forms with Latin-inspired sounds. She was motivated by her first trip to Central America in 1996 and the charanga tradition made popular by the dance orchestras in Cuba.

Andres Sas was a Peruvian composer with Belgian-French origins. His Sonatina Fantasia combines a traditional European sonatina form with traditional Peruvian pentatonic melodies. The tone colors Councell-Vargas creates in the third movement in particular are lovely.

Transparencias by Mexican composer Eduardo Gamboa was originally written for flute and strings and dedicated to Tadeu Coelho. This version has been arranged for flute and piano. This work is inspired by traditional Mexican folk music and features different types of Latin American rhythms. It’s fascinating to trace the different rhythmic patterns as they move between the flute and piano. 

Christopher Caliendo’s Sonata No. 7 for Flute and Piano (subtitled “The Jazz Sonata”) also uses a traditional European multi-movement sonatina form but incorporates jazz. In this way it resembles the Sas.

However, instead of focusing on Peruvian melodies, this piece incorporates jazz sounds of North America. Highly rhythmic sections contrast with beautifully-executed melodies.

Paquito D’Rivera’s Gran Danzón, “The Bel-Air Concerto,” again combines European form (in this case, concerto form) with Latin American sounds (in this case, the national dance of Cuba, danzón). This is the chamber version, which includes flute, piano, and percussion.

Overall, this is a fun, energetic album. The playing is excellent and the tone colors are truly enchanting. Learn more about Martha Councell-Vargas and her work at her website, www.marthacouncell.com.

Gran Danzón
Blue Griffin Recording
Martha Councell-Vargas, flute
Richard Steinbach, piano
Olman Piedra, percussion

Andres Sas         Sonatina – Fantasia
I.    Fantasia
II.    Elegia
III.    Danza

Eduardo Gamboa     Transparencias
I.     Torito
II.    Arrullo
III.    Rompe
IV.    Jarabe

Christopher Caliendo    Flute Sonata No. 7 “The Jazz Sonata”
I.    Andante un poco allegretto
II.    Andante rapsodia
III.    Moderato con fuoco

Paquito D’Rivera    Gran Danzón

This recently-released CD by inspirational artist Viviana Guzman helps performers focus their internal dialogue in a positive, healthy way. This recording is helpful for musicians who are in the beginning stages of their development, professional performers, and everyone in between. It would be useful for those who have stage fright or those who just want to be more present and experience a greater enjoyment of the moment. Guzman’s background includes seemingly-insurmountable childhood health challenges, which resulted in her growing up in body casts and wheelchairs and left her insecure about stage performance. She eventually defied medical predictions and was able to walk, and she also overcame her performance anxiety; this success leaves her particularly well-qualified to help others overcome their performing fears, as well.

Each track is approximately 15 minutes and features subtle background sounds from nature. One track is more obviously geared towards performers imagining an upcoming performance. The others are more general but still have strong connections to issues we face in performance. Some of my favorite phrases that recur throughout the first track remind us that we have “prepared our music” and “practiced diligently.” This helps to reaffirm the connection between adequate practice and successful performance. It reminds us to trust the hard work we have done and that a positive performance experience isn’t just related to chance.

I will recommend this recording to my students. I think it will be helpful to them, especially those who are new to performing and are a bit apprehensive about it. In addition, I have found my own thoughts to be better focused after listening multiple times.  Learn more about Viviana Guzman’s work at her website, www.viviana.org. 

Meditation for Performers: Guided Meditation and Affirmations
Syren Records 10440

Viviana Guzman
1.  Meditation for Performers
2.  Affirming Confidence
3. I Am Positive Affirmation

Interactions
AVIDrecords 2014

Performed by AVIDduo: Brittany Primavera, flute and Jeffery Kyle Hutchins, saxophone

We’re from the Internet  – Joshua Clausen
Cracked Brick – Anna E. Garman
Interactions – Lenka Štůralová
… deepities – Ted Moore
Ever Present – Alvin Lucier
BAAYAMI: From the Sky – Mark Oliveiro
Janus: I. Janua Coeli – Paul Hayden
Janus: II. Janua Inferni
Asteroid Baptistina – Peter John

AVIDduo, which includes flutist Brittany Primavera and saxophonist Jeffery Kyle Hutchins, has released a CD of new music for this combination of instruments; their goal is to promote new repertoire, including the specific works on this recording.

Right away, it is obvious this duo has included repertoire that really stretches the sonic qualities of these instruments. They incorporate extended techniques and create fascinating timbres between different combinations of flute, piccolo, alto saxophone, and baritone saxophone. Piano is included on one track which introduces a new timbre. Extended techniques are another way of introducing interesting sounds.

Joshua Clausen’s We’re from the Internet combines traditional chamber music ideas with electronic music. There are spoken samples included in this work. Cracked Brick by Anna Garman is based around two contrasting themes and was commissioned by AVIDduo. Lenka Štůralová’s Interactions, dedicated to AVIDduo, focuses on the interactions that are possible between the flute and saxophone.

Ted Moore’s …deepities has some very engaging moments, which are largely an exploration of timbre. According to the liner notes, a “deepity” is a statement that is apparently profound but actually asserts a triviality on one level and something meaningless on another.” This is another work commissioned by AVIDduo.

Ever Present by Alvin Lucier features tone waves over which the flutist, saxophonist, and pianist play long tones. Beats are produced at various speeds based on how close the tunings are. This is a captivating, meditative work.

BAAYAMI: From the Sky by Mark Oliveiro is inspired by the ancient people of prehistoric Australia. In addition to the instrumental sounds, it also features vocalizations from the performers. Paul Hayden’s Janus is in two movements: Janua Coeli, or“Gate of Heaven,” through which celestial beings enter and Janua Inferni , or “Gate of Hell,” through which humans enter. They are highly contrasting and feature extended techniques.

The last work on this release is Peter John’s Asteroid Baptistina. This asteroid is the one that is believed to have brought about the end of the age of dinosaurs and the beginning of a new era. He relates this idea to the current status of classical music: how do classical performers relate to new technology? John answers this question by combining flute and saxophone sounds and remixing them to deliver a convincing work that is a nice closer to this album.

If you are interested in expanding your knowledge of flute and saxophone repertoire or if you have such an ensemble, there is certainly plenty of inspiration here.
Learn more about AVIDduo’s work at their website, www.AVIDduoMusic.com.

This review was originally published in the May 2014 issue of The Flute View magazine. Subscribe here!

Games of Light
MSR Classics (MS 1457)
Performed by Francesca Arnone

Charles Koechlin – Selections from Les Chants de Nectaire, Op. 198
William Alwyn – Divertimento for Solo Flute
I. Introduction and Fughetta
II. Variations on a Ground
III. Gavotte and Musette
IV. Finale alla Gigue

Miklós Rózsa – Sonata per Flauto Solo, Op. 39
I. Allegro risoluto
II. Andante, quasi pastorale
III. Vivo e giocoso

Arthur Willner – Sonate für Flöte Allein, Op. 34
I. Lebhaft
II. Sehr langsam
III. Schnell

In this release from Francesca Arnone, flute professor at Baylor University, we are treated to several works for solo flute. Dr. Arnone has decided to focus on works that are rarely heard so that she may “shine light on this rich repertoire.”

Arnone has chosen to include fifteen selections from a larger work by Charles Koechlin (1867 – 1950). Les Chants de Nectaire includes three opus numbers for a total of ninety-six monodies. The fifteen included on this recording are taken from opus 198 and range in length. Each monody is given a provocative title taken from Anatole France’s novel La Revolte des Anges.

William Alwyn (1905 – 1985) was a film composer and was on faculty at London’s Royal Academy of Music. The work included on this recording, his Divertimento for Solo Flute, comprises four movements that are often written on several staves even though they are performable by one player. This type of writing, which requires the player to show differences in dynamics and tone colors, provides a considerable challenge.

The Sonata per Flauto Solo, Op. 39 by Miklós Rózsa (1907 – 1995), pays homage to Hungary, this composer’s native country. It incorporates modal melodies and dance rhythms. Rózsa was a film composer and later in life turned to writing for solo instruments.

Sonate, Op. 34 by Czech composer Arthur Willner (1881 – 1959) is a highly chromatic, intense work. While many of Willner’s works remain unpublished, this one is available. Occasionally reminiscent of the works of Mahler, this is a work that requires much from the performer.
This is a bold recording since it is entirely made up of solo flute works that are largely unknown. Dr. Arnone’s playing is engaging, expressive, convincing, and fearless. She has a beautiful sound and flawless technique. If you are interested in expanding your repertoire, give serious consideration to these works.

Learn more about Francesca Arnone at her website, www.francescaarnone.com.

This review was originally published in the April 2014 issue of The Flute View magazine. Subscribe here!

Explosive
performed by Stephen Clark and the Irish Studio
Orchestra
Voyage Records

Explosive
Annie’s Song
Viva La Vida
The Mission
The Prayer
Titanic
Siamsa
November Rain
Lord of the Dance
Whispering Winds

Stephen Clark’s debut album, Explosive, is a crossover album featuring flute arrangements from diverse sources, ranging from music from the Irish dance show Lord of the Dance to Guns N’ Roses. This Scottish flutist, who studied at the Royal Scottish Academy of Music and Drama and the Royal Northern College of Music, combines a beautiful, rich, powerful tone with some fun repertoire that you might be surprised to hear on a flute CD.

 

Clark opens with a cover of “Explosive,” written by Tonci Huljic and performed by Bond, the British crossover string quartet. This piece is fast-paced and is an energetic opening to the album.  He moves in a different direction with a cover of John Denver’s lyrical “Annie’s Song,” which has also been covered by James Galway.  Coldplay’s “Viva la Vida,” from their 2008 album Viva la Vida or Death and All His Friends is convincingly played next by Clark. The flute tracks, all performed by Clark, are layered, which creates a full, complex piece.

 

Various types of film music are included on Clark’s album. One track is from The Mission, a 1986 British drama starring Robert De Niro. A second movie-related track is from the 1997 film Titanic starring Leonardo DiCaprio and Kate Winslet.  “The Prayer” is a cover of a 1999 duet between Celine Dion and Andrea Bocelli. 

Three tracks (“Siamsa,” “Lord of the Dance,” and “Whispering Winds”) were written by the Irish composer Ronan Hardiman, who composed the soundtracks to the Lord of the Dance and related dance shows. These show Clark’s command of difficult articulation; it is consistently clear, clean, and crisp. The last track, “Whispering Winds,” also features some very nice timbral trills. 

Perhaps the most unexpected track is a cover of Guns N’ Roses’ “November Rain” from their 1992 album Use Your Illusion I. These tracks might not be what you expect from a flute album, but it certainly is a fun collection. Perhaps more importantly, each track is expertly executed.

 

Learn more about Stephen Clark at his website, www.stephenclarkflute.com, or on Twitter at @stephenflute.

This review was originally published in the January 2014 issue of The Flute View magazine. Subscribe here!