Faure and his Circle (DXL 1125)

£13.99

Description

With the support of the composers Franck, Massenet, Fauré, Duparc and Saint-Saëns, the Société Nationale de Musique was set up in February 1871 to promote its distinctive symphonic and chamber music concerts. This disc presents a selection of music that featured in these concerts, many of which were premiered by France’ s leading flautist at the time, Paul Taffanel.

Thanks to Taffanel, a tradition of commissioning works especially for these concours began to emerge. At first the commissions were just for the flute competition but very soon, under Taffanel’s influence,
new works began to be commissioned for all the wind and brass instruments.

Here Kathryn Thomas (featured by the Times as a ‘Great British Hope’,) is joined by Richard Shaw (piano) and guests, Richard Bayliss (horn) and Lawrence Power (viola).

Track List:

1) Saint-Saëns: Romance Op. 37

2) Saint-Saëns: Airs de ballet d’Ascanio

3) Fauré: Fantaisie Op.79

4) Fauré: Morceau de lecture

5) Fauré: Vocalise–Étude

6) Fauré: Interlude from Pelléas et Mélisande

Koechlin: Deux Nocturnes Op.32 bis
7) Venise
8) Dans la forêt

9) Schmitt: Scherzo – Pastorale

10) Ravel: Pièce en forme de habanera

11) Enesco: Cantabile et presto

12) Casella: Sicilienne et burlesque

13) Boulanger: Nocturne

14) Duruflé: Prélude, récitatif et variations

Featured by the Times as a ‘Great British Hope’, Kathryn Thomas presents a beautiful collection of flute music by Gabriel Faure and his contemporaries.  Here she is joined by pianist Richard Shaw and guests, Richard Bayliss (horn) and Lawrence Power (viola).

“thoughtfully put together and elegantly played.” The Guardian

“very interesting and very enjoyable, collection of French miniatures…the recording is excellent, crisp and clear..I can wholeheartedly recommend this disc for it is a sheer delight. “ Music Web

“Flautist Kathryn Thomas plays wonderfully, sporting spry finger technique, sinuous melodic shaping, and a ripe, suptuous tone quality that projects well even in the lowest reaches of the instrument. “
21st Century music. com

 

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