It's a rare Festival of the Sound that doesn't result in me purchasing at least a couple of recordings -- or more. But this new acquisition is particularly intriguing for the selection of music, encompassing ten composers across several centuries, and all composed or arranged for the duo of flute and harp.
Take the pure, cool tones of Suzanne Shulman's flute, pair them with the liquid cascades of Erica Goodman's harp, and the resulting combination is as refreshing as a tall iced drink on a hot summer afternoon -- and provides far more lasting satisfaction. And that's the secret recipe of this Naxos release, entitled Serenades and Sonatas for Flute and Harp.
Not the least of the attractions, for me at any rate, is the presence in this collection of no less than four composers whose names are completely new to me.
Among the less well-known names are found some true delights. Sample the light-hearted, fleet-footed waltz of the final movement in John Marson's Suite for Flute and Harp, enticingly entitled Strawberries and Cream. It's a pity that room could not be made for the other four movements.
Or take the gentle lyrical beauty of Arthur Woodall's Serenade, a love song in instrumental form if ever I heard one.
It's not all sweetness and light, mind you. Alphonse Hasselmans contributed a virtuoso concert study for the harp, La Source, Op. 44, written in 1899. Here, Goodman presents a busy and demanding score with such aplomb and apparent ease that it's hard to visualize how much work is involved.
The best among these relative unknowns is the Victorian Kitchen Garden Suite by Paul Reade. Drawn from music composed for the BBC2 TV series of the same name in 1991, this collection of short pieces is a real charmer -- yet plainly calls on the skills of both players to a high degree. The serenity of the opening Prelude, marked andante pastorale leads to the brighter birdsong trillings from the flute in Spring. The central movement, named simply Mists, draws rapid arpeggios from the harp which help to sketch in the picture of wreaths of mist drifting by. Exotica brings exuberant rhythms and virtuoso flourishes from both instruments. The final movement, Summer, is marked flowing and the performance here definitely captures he composer's intent with his rising and falling melody in almost folk-like harmonies, ending with a piquant final cadence, beautifully pointed by Shulman.
Aside from these rare names, Shulman and Goodman have also provided some fascinating pieces from more established names. Top of the list here is Naiades -- Fantasy-Sonata for Flute and Harp by English composer William Alwyn, whose work is very well-known in his homeland. Although the prevailing style remains somewhat lyrical in the early pages, there's also a good deal of dissonance to spice the mixture. These dissonant moments don't pain the ear in the way they might on, say, a piano, thanks to the softer-edged tone of these two instruments. In the more energetic later sections, the duo capture an elemental wildness in the music which reminds us that nature spirits don't always act in a civilized manner.
More traditional in both style and structure is the 1937 Sonata for Flute and Harp by Nino Rota. It's a pity that Rota is mainly famed in North America as the composer of film music for the first two films of The Godfather trilogy, because his output was far greater and more diverse, including operas, ballets, theatre music -- and this beautiful sonata. Simplicity and clarity are the keynote of the first two movements. The energetic dance of the finale creates a fine contrast, ending with a spectacular flourish from both flute and harp.
John McCabe's arrangement of Les Oiseaux by Ernest Chausson takes incidental music from a production of the comedy by Aristophanes and assembles it into a short concert suite for the two instruments. The opening brings birdsong flourishes from the flute, leading into a slow and stately song for the duo.
Two delightful arrangements of harpsichord pieces by François Couperin bring the Baroque style of the court of the Sun King into the recital. The sweeping lines of Le Rossignol en amour ("The Nightingale in Love") are succeeded by the strutting, preening dance of Le Rossignol vainqueur ("The Nightingale Conqueror").
Brief contributions from two of England's most famous composers complete the programme. The disc opens with a flute and harp arrangement of the Fantasia on Greensleeves, by Ralph Vaughan Williams. This means, of course, no substantial difference in the opening bars which were originally scored for flute and harp! Next to last on the CD is the Chanson de matin of Edward Elgar, another beautifully melodic short work.
Throughout the recital, the instruments are clearly heard in a spacious but not over-reverberant acoustic, with just "enough" resonance in the air (a definite matter of opinion, of course). The playing from both Suzanne Shulman and Erica Goodman is exemplary, both technically and artistically.
This is a disc that I think is guaranteed to put a smile on your face -- it does on mine. Now, where's my tall cool drink?
Or take the gentle lyrical beauty of Arthur Woodall's Serenade, a love song in instrumental form if ever I heard one.
It's not all sweetness and light, mind you. Alphonse Hasselmans contributed a virtuoso concert study for the harp, La Source, Op. 44, written in 1899. Here, Goodman presents a busy and demanding score with such aplomb and apparent ease that it's hard to visualize how much work is involved.
The best among these relative unknowns is the Victorian Kitchen Garden Suite by Paul Reade. Drawn from music composed for the BBC2 TV series of the same name in 1991, this collection of short pieces is a real charmer -- yet plainly calls on the skills of both players to a high degree. The serenity of the opening Prelude, marked andante pastorale leads to the brighter birdsong trillings from the flute in Spring. The central movement, named simply Mists, draws rapid arpeggios from the harp which help to sketch in the picture of wreaths of mist drifting by. Exotica brings exuberant rhythms and virtuoso flourishes from both instruments. The final movement, Summer, is marked flowing and the performance here definitely captures he composer's intent with his rising and falling melody in almost folk-like harmonies, ending with a piquant final cadence, beautifully pointed by Shulman.
Aside from these rare names, Shulman and Goodman have also provided some fascinating pieces from more established names. Top of the list here is Naiades -- Fantasy-Sonata for Flute and Harp by English composer William Alwyn, whose work is very well-known in his homeland. Although the prevailing style remains somewhat lyrical in the early pages, there's also a good deal of dissonance to spice the mixture. These dissonant moments don't pain the ear in the way they might on, say, a piano, thanks to the softer-edged tone of these two instruments. In the more energetic later sections, the duo capture an elemental wildness in the music which reminds us that nature spirits don't always act in a civilized manner.
More traditional in both style and structure is the 1937 Sonata for Flute and Harp by Nino Rota. It's a pity that Rota is mainly famed in North America as the composer of film music for the first two films of The Godfather trilogy, because his output was far greater and more diverse, including operas, ballets, theatre music -- and this beautiful sonata. Simplicity and clarity are the keynote of the first two movements. The energetic dance of the finale creates a fine contrast, ending with a spectacular flourish from both flute and harp.
John McCabe's arrangement of Les Oiseaux by Ernest Chausson takes incidental music from a production of the comedy by Aristophanes and assembles it into a short concert suite for the two instruments. The opening brings birdsong flourishes from the flute, leading into a slow and stately song for the duo.
Two delightful arrangements of harpsichord pieces by François Couperin bring the Baroque style of the court of the Sun King into the recital. The sweeping lines of Le Rossignol en amour ("The Nightingale in Love") are succeeded by the strutting, preening dance of Le Rossignol vainqueur ("The Nightingale Conqueror").
Brief contributions from two of England's most famous composers complete the programme. The disc opens with a flute and harp arrangement of the Fantasia on Greensleeves, by Ralph Vaughan Williams. This means, of course, no substantial difference in the opening bars which were originally scored for flute and harp! Next to last on the CD is the Chanson de matin of Edward Elgar, another beautifully melodic short work.
Throughout the recital, the instruments are clearly heard in a spacious but not over-reverberant acoustic, with just "enough" resonance in the air (a definite matter of opinion, of course). The playing from both Suzanne Shulman and Erica Goodman is exemplary, both technically and artistically.
This is a disc that I think is guaranteed to put a smile on your face -- it does on mine. Now, where's my tall cool drink?
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