Luogo e data di registrazione		-
	Registrazione: live / studio		studio
	Recording Supervision		-
	Edizione LP		TELEFUNKEN - 6.42364 AP - (1 LP - durata 41' 22") - (p) 1979 - Analogico
	Originale LP		-
	Prima Edizione CD		-
	Note		-

The transverse flute already figured in the grammophone record series "Virtuoso Chamber Music". On that occasion it featured beside the recorder, which it eventually supplanted as the more expressive and tonally more intense instrument, with music of the baroque eta (Telefunken 6.42330). The present record confirms the greater possibilities of flute playing. The examples selected here not only illustrate the fact that direct alternating effects exist between composition and virtuosity, but also that as a consequance of this, extremely difficult techynical achievements such as have never been experienced before, can be demanded of interpreters of new music. It is not a coincidence that the works of French composers predominate here. This is already explained by the marked preferences which are known to have existed in France for winds and wind music. (even today, wind players from France make up the bulk of the Boston Symphony Orchestra). André Jolivet (1905-1974) was admittedly not regarded as an untimely composer, but certainly as an "outsider". In 1936, tohether with Messiaen, Lesure and Baudrier, he founded the group of composers known as "Jeune France". Its aims were to seek an independent French tonal language, influenced by neither the maxims of the "Viennese school" nor the "rules of the game" of neoclassicism. The Suite en Concert factually the second flute concerto) composed in 1965 accords with these concepts. The four-movement work covers in the wind part - in which the deeper tone values are effected by using a second instrument in the second movement - the range of the flute's intrinsic representation means. The flute and the percussion arsenal, for which four players are required, are structurally integrated, althought tonally divided. With his rhapsodically generous treatment of the wind part, to which the percussion section is apportioned as a differentiating correlate, Jolivet turns down the emotionless construction models, thus sparing the executant (and listener) the path into isolating esoteric regions. The Sequenza for Flute alone, written in 1958 by Luciano Berio (born 1925) is unorthidox from a compositional point of view, although more progressive. Berio applies the principle of group permutation here, and for the rest also tries to solve the time problem in music in a graphical manner. Tonally the part is marked by spontaneity and impulsiveness, which leaves every possibility of virtuoso sound development open to the interpreter. The melodic structures of the duet piece "Le merle noir", composed in 1952 by Olivier Messiaen (born 1908), were copied from the blackbird. In this latter piece the cadence, canon and independent quaver movement are linked up with each other. Helmut Eder (born 1916) called his composition for flute and piano Sonatine, Frank Martin (1890-1974) on the other hand Ballade. While Eder was guided by a stricter formal concept, Martin was inclined to choose the freer, epic tonal form. With this obligatory piece for the first Geneva Music Competition in 1939, which he and Ernest Ansermet later arranged for string and orchestral accompaniment, Martin made skilful use of probably every kind of performance experience and colour value of modern flute playing, particularly in the vivace section, in both a pleasing and effective manner. Gerhard Wienke (English translation by Frederick A. Bishop)