RECORDING OF THE MONTH
A Song without Words - the legacy of Paul Taffanel
Contents listed at end of review
Kenneth Smith (flute); Paul Rhodes (piano)
rec. St Mary’s Church, Burghfield, Berks, 28 July-1 August, 17-21 November
2008 and 16-21 January 2009
DIVINE ART DDA 21371 [3 CDs: 77:41 + 76:41 + 78:14]
Theobald Boehm revolutionised the flute with his invention of an instrument
in which the holes were placed where they needed to be for acoustic reasons.
In essence earlier instruments had holes placed in places convenient for the
fingers, requiring cross fingering and the adjustment of individual notes
to enable them be played in tune. His further development of cylindrical rather
than conical cross-section led to the popularity of metal instruments.
Paul Taffanel (1844-1908) was a French flautist who took advantage of the
capabilities of the new instrument to create what was in effect a whole new
school of playing, and a new, more liquid and expressive sound. Nowadays this
French school is almost universal but comparisons of early recordings show
that only a century ago there still existed distinct English and German schools.
It was largely the influence of Taffanel’s playing and of his many pupils,
including Marcel Moyse, arguably the greatest flautist of the twentieth century,
that led to this dominance by the French. I love the distinctive sounds of
orchestras in the early twentieth century but listening to Moyse’s many
recordings and to these discs it is easy to understand the attraction to modern
players of the sheer beauty of sound and eloquence of the French approach.
As far as I am aware this is the first time that a determined effort has been
made on disc to examine thoroughly music directly associated with Taffanel.
Although he wrote much for teaching, the only wholly original material actually
composed by him here is a set of three pieces intended as tests for sight-reading.
They are brief and would surely achieve their main aim, but unusually they
are entertaining for the listener. In addition by Taffanel himself there are
a Fantasie on themes from “Der Freischütz” and transcriptions
of music by Chopin and Saint-Saëns. These are all especially suited to
the kind of expressive variations of tone to which Taffanel aspired. The former
shows the kind of fluency of technique which composers for the instrument
expected and exploited.
Although there are a few familiar names and works elsewhere on these discs,
including Reinecke’s delightful “Undine” Sonata, Doppler’s
“Fantasie Pastorale Hongroise” and Widor’s Suite, the majority
are likely to be unfamiliar, certainly to most musicians but even to many
flautists. There is nonetheless immense pleasure to be obtained here. The
most striking thing is the sheer expertise with which these pieces are composed.
Even if musically some may seem to lack originality or to have little to say,
they say it so well and with such engaging craftsmanship that the listener
is willing to forgive them. This applies to many of the works on the second
disc in particular. The dedicated efforts of Kenneth Smith and Paul Rhodes
here as elsewhere present the music at its best. Admittedly it would be unwise
to listen to too much of this at once as a certain sameness does become all
too apparent. Similarly I should note that for all his undoubted virtuosity
and beauty of tone, Kenneth Smith lacks the variety of tone colour of Marcel
Moyse - but then, so do most flautists. Incidentally no recordings exist of
Taffanel himself.
This set would be worthwhile having for the rarity and interest of its contents
alone. It is made an essential purchase for flautists or anyone with a particular
interest in French music of the late nineteenth century by the superb booklet.
This has full notes on each work (in English, French and German) and its composer,
and in addition some fascinating photographs of Taffanel. It’s a pity
they are not reproduced in a larger format, especially that of him demonstrating
his embouchure. It would be a mistake to claim that these discs contained
music of great importance or, in general, depth, but what the many works here
do have is charm, craftsmanship and a special kind of poetic feeling that
was suited to Taffanel’s art. When in addition it is all beautifully
played, recorded and presented you have a set which surely must be a candidate
for an ideal Christmas present for any music-lover whatever their usual musical
interests.
John Sheppard
Charm, craftsmanship and a special kind of poetic feeling.
Contents:
Volume 1 (Vision)
Paul Taffanel (1844-1908) Fantasie sur “Le Freyschütz de
Ch M de Weber” [13:27]
Christoph Gluck (1714-1787) Dance of the Blessed Spirits [7:05]
Carl Reinecke (1824-1910) Sonata for Flute and Piano Op 167 “Undine”
[23:17]
Fryderyk Chopin (1810-1849) Nocturne in F# Op 15/2 (transcribed Taffanel)
[3:43]
Paul Taffanel (1844-1908) Trois morceaux de lecture à vue [3:47]
Alphonse Catherine (1868-?) Nocturne [3:57]
Gabriel Fauré (1845-1924) Morceau de Concours [2:37]; Fantasie
Op 79 [5:35]
Jules Mouquet (1867-1946) Divertissements Grecs Op 23 - No 1 “Lydienne”
[5:55]
Camille Saint-Saëns (1835-1921) Romance Op 51 (transcribed Taffanel)
[3:58]
Volume 2 (Dedication)
Clémance de Grandval (1830-1907) Suite [21:49]
Emile Bernard (1843-1902) Romance Op 33 [7:26]
François Borne (1862-1929) Ballade et danse de lutins [11:18]
Charles Edouard Lefèbvre (1843-1917) Deux Pièces Op 72
[7:41]
Louis Reynaud (?-?) Nocturne [7:46]
Charles-Wilfred de Bériot (1833-1914) Sonata Op 64 [20:37]
Volume 3 (Imagination)
Georges Barrère (1876-1944) Nocturne [5:33]
Albert Doyen (1882-1935) Poèmes Grecs [18:15]
Alfred Bruneau (1857-1934) Romance [5:02]
Jacques Durand (1865-1928) Romance Op 7 [4:40]
Albert Franz Doppler (1821-1883) Fantasie Pastorale Hongroise Op 26
[13:08]
Camille Saint-Saëns (1835-1921) Romance Op 37 [7:29]
Charles-Marie Widor (1844-1937) Suite Op 34 [18:50]
Felix Mendelssohn (1809-1847) Contemplation (Romance sans parole) (transcribed
Taffanel) [4:48]