EXPLORING MUSIC: The Flute in Three Guises

The prospect of hearing the flute in a couple of unknown concerti and an encore may at first, for most of us, seem less intriguing than it turns out to be, particularly in the present case. I am speaking of what might be termed "the rare and well done."

First, there is the instrument used-a rarity made from solid gold-and the uses to which its sound is put within some really fascinating musical contexts. Then, there are the three styks used so tellingly by the composers involved, all of surpassing importance to music's path in history. Nothing's dull or dry here.

Our soloist, Frans Vester, is well known for two earlier releases on our label (music by Kuhlau on MHS 4429T and Weber on MHS 834383 W) and for records on many other labels in Europe. He enjoys a distinguished career, thanks to superb breath control, beautiful tone, and world-class musicianship. His instrument is special, too. Made by Haynes of Boston, the golden flute has a sound to match its visual beauty. When coupled with the ever-nimble, sometimes electrifying playing of the Concerto Amsterdam under Jaap Schroder's razor-sharp direction, instrument and artist come to terms with these scores quite remarkably.

The challenges of style are nowhere more keenly poised than in music from the early classical era. Performers must be alert to every tricky demand. Benda, Haydn, and Gluck keep them on their toes. The reasons are compelling.

Shortly after the middle of the 18th century, composers went a bit wild exploring new means of expression. After all, they thought, since Handel in England, Rameau in France, and Bach in Germany had written the final chapters on the baroque style, something fresh was needed. They were to hit on three very different manners, or idioms which, about a half-century later, Beethoven would reconcile in music of universal appeal, both closing the chapter on the classical style and ushering in the new romantic style.

Each is a study in itself: the style galant (or gallant style), meant to please aristocratic patrons through the happy use of major keys, pretty tunes, simple chords, and decorative passagework; the empfindsamer Stil (or expressive style), intended to tug at the heartstrings through intensely emotional effects transferred to instruments from the vocal world; and the Sturm und Drang (or storm-and-stress) style, designed to surprise and excite through agitated crescendos, abrupt harmonies, sudden silences, restless rhythms, stabbing accents, and minor keys.

The latter two are utilized in the recently discovered Benda score. Its energy fairly crackles. Sparks fly in every direction in the outer movements, while the inner one throbs with contained passion. The Haydn score, on the other hand, mirrors the image of the gilded aristocracy for whose taste it was tailored. Refined elegance charms its three galant movements. The Gluck Dance unites a galant accompaniment with an expressive melody, as if to narrow the gap between the Benda and the Haydn.

This all is clearly expressed thanks to the adaptable sound of Vester's precious flute. It enables the artist to switch styles the way a chameleon changes colors-wonderful to hear!

The prospect of hearing the flute in a couple of unknown concerti and an encore may at first, for most of us, seem less intriguing than it turns out to be, particularly in the present case. I am speaking of what might be termed "the rare and well done."

First, there is the instrument used-a rarity made from solid gold-and the uses to which its sound is put within some really fascinating musical contexts. Then, there are the three styks used so tellingly by the composers involved, all of surpassing importance to music's path in history. Nothing's dull or dry here.

Our soloist, Frans Vester, is well known for two earlier releases on our label (music by Kuhlau on MHS 4429T and Weber on MHS 834383 W) and for records on many other labels in Europe. He enjoys a distinguished career, thanks to superb breath control, beautiful tone, and world-class musicianship. His instrument is special, too. Made by Haynes of Boston, the golden flute has a sound to match its visual beauty. When coupled with the ever-nimble, sometimes electrifying playing of the Concerto Amsterdam under Jaap Schroder's razor-sharp direction, instrument and artist come to terms with these scores quite remarkably.

The challenges of style are nowhere more keenly poised than in music from the early classical era. Performers must be alert to every tricky demand. Benda, Haydn, and Gluck keep them on their toes. The reasons are compelling.

Shortly after the middle of the 18th century, composers went a bit wild exploring new means of expression. After all, they thought, since Handel in England, Rameau in France, and Bach in Germany had written the final chapters on the baroque style, something fresh was needed. They were to hit on three very different manners, or idioms which, about a half-century later, Beethoven would reconcile in music of universal appeal, both closing the chapter on the classical style and ushering in the new romantic style.

Each is a study in itself: the style galant (or gallant style), meant to please aristocratic patrons through the happy use of major keys, pretty tunes, simple chords, and decorative passagework; the empfindsamer Stil (or expressive style), intended to tug at the heartstrings through intensely emotional effects transferred to instruments from the vocal world; and the Sturm und Drang (or storm-and-stress) style, designed to surprise and excite through agitated crescendos, abrupt harmonies, sudden silences, restless rhythms, stabbing accents, and minor keys.

The latter two are utilized in the recently discovered Benda score. Its energy fairly crackles. Sparks fly in every direction in the outer movements, while the inner one throbs with contained passion. The Haydn score, on the other hand, mirrors the image of the gilded aristocracy for whose taste it was tailored. Refined elegance charms its three galant movements. The Gluck Dance unites a galant accompaniment with an expressive melody, as if to narrow the gap between the Benda and the Haydn.

This all is clearly expressed thanks to the adaptable sound of Vester's precious flute. It enables the artist to switch styles the way a chameleon changes colors-wonderful to hear!