The Naxos-Gaubert edition
                    has now reached Volume 3 and whatever else may be said
                    about the quality and level of inspiration of the compositions,
                    executant standards are certainly well maintained (see reviews
                    of Volume 1 - CMT & RH -
                    and Volume 2 - GPJ).
                    This is a difficult disc to assess because at its heart lies
                    a
                    long
                    sequence of transcriptions – heard here in their first ever
                    recording – the nourishment of which will depend entirely
                    on one’s largesse toward flute and piano editions of Boccherini’s
                    Minuet, Gluck’s Orfeo (Minuet and Dance inevitably), some
                    Lully and the like. These Baroque and Classical transcriptions
                    were written for publication by Leduc – Gaubert eventually
                    contributed thirty – and whatever opportunities they may
                    have given the amateur flautist then (publication was in
                    1927) they now seem, once again perhaps invariably, more
                    than somewhat faded in charm. 
                    
                 
                
                
                Elsewhere we find the elite
                    flautist-composer showing distinct Debussyan longings. Soir
                    sur la plaine, the first of Deux esquisses is
                    undated but doffs its impressionist cap to the Faune; the
                    second, an Orientale, makes somewhat insipid moves
                    towards the evocative East. The Nocturne et allegro scherzando is
                    one of those familiarly bipartite conservatoire test pieces – a
                    slow introduction testing legato and colour followed by an
                    allegro of sharp corners and some difficulty. His Sicilienne owes
                    a debt to Fauré but the 1905 Romance, whilst lyrically
                    attractive, is overstretched. 
                    
                     
                    
                  The impressionist reappears
                    strongly in the 1908 Romance but there’s something
                    altogether stronger and more personal in the Fantaisie which
                    sports a fine cadenza and a slightly backward looking late
                    nineteenth century Test Piece ethos. Finally there’s an affectionate Lullaby to
                    provide easeful leave taking.
                    
                     
                    
                    Quite a deal of this is
                    editorial bread and butter work – the Transcriptions amount
                    to a good half an hour’s worth – but there’s enough stylistic
                    density to keep routine at bay. But it’s mainly for flautists,
                    completists and Gaubertists, or combinations thereof.
                    
                     
                    
                    Jonathan Woolf
                    
                  
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