Ginevra Petrucci, Orchestra I Pomeriggi Musicali & Maurizio Ciampi - Dupuy & Büchner: Romantic Flute Concertos (2015)
BAND/ARTIST: Ginevra Petrucci, Orchestra I Pomeriggi Musicali, Maurizio Ciampi
- Title: Dupuy & Büchner: Romantic Flute Concertos
- Year Of Release: 2015
- Label: Brilliant Classics
- Genre: Classical
- Quality: flac lossless
- Total Time: 00:58:43
- Total Size: 242 mb
- WebSite: Album Preview
Tracklist
01. Concerto in D Minor: I. Allegro ma non troppo
02. Concerto in D Minor: II. Andante
03. Concerto in D Minor: III. Rondo
04. Concerto in F Minor: I. Allegro
05. Concerto in F Minor: II. Andante
06. Concerto in F Minor: III. Allegro
Edouard Dupuy (1770-1822) was a Swiss composer who trained with Jan Ladislav Dussek in Paris before becoming a member of the court orchestra for Prince Henry of Prussia. By all accounts he lived a turbulent lifestyle, and was finally dismissed from his post after he rode into the middle of a church service on horseback. Until then his considerable musical talents had apparently pardoned his eccentric behaviour, but he took himself off to Scandinavia and died in Stockholm. His Flute Concerto is a marvellously tense and testing work, as contoured to its instrument and early-Romantic idiom as the concertos for clarinet by Weber and for piano by Chopin.
The concerto has been little recorded hitherto but its very considerable technical demands hold no terrors for Ginevra Petrucci (b.1989), who has previously recorded the complete Flute Quintets by Friedrich Kuhlau for Brilliant Classics (BC94769) and more recently Haydn’s Duos (BC94620) for the instrument with her father, Gianluca Petrucci.
The pairing is even less often encountered in concert and more enticing: the concerto by Ferdinand Büchner (1825-1912). Its tonality of F minor (a rarely used and tragic key) gives notice of a developed and individual compositional voice, and so it proves. Büchner was a flautist-composer who spent most of his career in Russia; this concerto was the first of several, and now considered to be his finest, but very little of his music is recorded; this newly recorded album fills a significant gap in the recorded history of the Romantic flute at its most virtuosic and may prompt critical and popular interest in the rest of Büchner’s work.
01. Concerto in D Minor: I. Allegro ma non troppo
02. Concerto in D Minor: II. Andante
03. Concerto in D Minor: III. Rondo
04. Concerto in F Minor: I. Allegro
05. Concerto in F Minor: II. Andante
06. Concerto in F Minor: III. Allegro
Edouard Dupuy (1770-1822) was a Swiss composer who trained with Jan Ladislav Dussek in Paris before becoming a member of the court orchestra for Prince Henry of Prussia. By all accounts he lived a turbulent lifestyle, and was finally dismissed from his post after he rode into the middle of a church service on horseback. Until then his considerable musical talents had apparently pardoned his eccentric behaviour, but he took himself off to Scandinavia and died in Stockholm. His Flute Concerto is a marvellously tense and testing work, as contoured to its instrument and early-Romantic idiom as the concertos for clarinet by Weber and for piano by Chopin.
The concerto has been little recorded hitherto but its very considerable technical demands hold no terrors for Ginevra Petrucci (b.1989), who has previously recorded the complete Flute Quintets by Friedrich Kuhlau for Brilliant Classics (BC94769) and more recently Haydn’s Duos (BC94620) for the instrument with her father, Gianluca Petrucci.
The pairing is even less often encountered in concert and more enticing: the concerto by Ferdinand Büchner (1825-1912). Its tonality of F minor (a rarely used and tragic key) gives notice of a developed and individual compositional voice, and so it proves. Büchner was a flautist-composer who spent most of his career in Russia; this concerto was the first of several, and now considered to be his finest, but very little of his music is recorded; this newly recorded album fills a significant gap in the recorded history of the Romantic flute at its most virtuosic and may prompt critical and popular interest in the rest of Büchner’s work.
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