“These three works provide a well balanced programme, and high standards of playing and recording combine to make this a release to be reckoned with.” Gramophone Magazine, June 2008
“A major label investing in the future is cause for celebration: three cheers to Pahud and EMI for their advocacy of these thoroughly enjoyable pieces.” BBC Music Magazine, May 2008 *****
“A major label investing in the future is cause for celebration: three cheers to Pahud and EMI for their advocacy of these thoroughly enjoyable pieces.” BBC Music Magazine, May 2008 *****
“Like other high-profile wind players, Emmanuel Pahud has sought to compensate for the dearth of pre-1900 concertos by commissioning contemporaries. These three works provide a well balanced programme, and high standards of playing and recording combine to make this a release to be reckoned with.
Marc-André Dalbavie has no hang-ups about evoking both the languor and the energy of Ravel's Daphnis et Chloé – and the music is all the better for the kind of tongue-in-cheek approach which leads Pahud himself to make comparisons with Ibert. It works because there are no halfmeasures: both the opulence and the tenderness seem genuine and well judged in terms of Dalbavie's own personal angle on contemporary idioms. After this, Michael Jarrell's …un tempsde silence… and Matthias Pintscher's Transir are a good deal more intense. Jarrell risks overindulging the defining features of his idiom – fast and febrile at one extreme, quietly whispering at the other.
But there's enough drama to keep the piece in focus, and Pahud's way with its intricate flurries and withdrawn musings is mesmerisingly fastidious.
Transir is the most radical of the three works in its addiction to fragmentation, brief expressionistic outbursts articulating what might be heard as an extended modernist mad scene. Even if the work's dedication to the memory of a composer called Dominic Transir is not a joke, 'transir' also happens to be the French verb for 'to paralyse, to chill to the bone'. This is indeed profoundly chilly music, constantly on the verge of freezing solid, never thawing into expansiveness.
After it, Dalbavie's unaffected warmth seems even more seductive than it otherwise might.” --Gramophone Classical Music Guide, 2010
MP3 320 · 122 MB
Marc-André Dalbavie has no hang-ups about evoking both the languor and the energy of Ravel's Daphnis et Chloé – and the music is all the better for the kind of tongue-in-cheek approach which leads Pahud himself to make comparisons with Ibert. It works because there are no halfmeasures: both the opulence and the tenderness seem genuine and well judged in terms of Dalbavie's own personal angle on contemporary idioms. After this, Michael Jarrell's …un tempsde silence… and Matthias Pintscher's Transir are a good deal more intense. Jarrell risks overindulging the defining features of his idiom – fast and febrile at one extreme, quietly whispering at the other.
But there's enough drama to keep the piece in focus, and Pahud's way with its intricate flurries and withdrawn musings is mesmerisingly fastidious.
Transir is the most radical of the three works in its addiction to fragmentation, brief expressionistic outbursts articulating what might be heard as an extended modernist mad scene. Even if the work's dedication to the memory of a composer called Dominic Transir is not a joke, 'transir' also happens to be the French verb for 'to paralyse, to chill to the bone'. This is indeed profoundly chilly music, constantly on the verge of freezing solid, never thawing into expansiveness.
After it, Dalbavie's unaffected warmth seems even more seductive than it otherwise might.” --Gramophone Classical Music Guide, 2010
MP3 320 · 122 MB
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