Your Ad Here!
Send Email to: email@example.com
TO . . ., 3
Hear Museum Art (B.L.C./Greenfest) <> Mad Dreams and Brits
THE PRINTED WORD
RECENT RELEASES, 31
COMPOSER INDEX, 34
BULLETIN BOARD, 35
Chamber Players In Concert for Impact
Birtwistle: Refrains and Choruses
Review of CD
WORKS FOR FLUTE AND PIANO OF LOUIS MOYSE
CRI CD 888
Louis Moyse is one of a host of multitalented musicians who has toiled in relative obscurity for many years. Born in France ninety years ago and currently living in Vermont, he is perhaps best remembered as a virtuoso flautist and noteworthy teacher of this instrument, though he was also an accomplished pianist and worked for many years as an arranger and editor for the publishing firm G. Schirmer. This release showcases yet another of his abilities, that of composer.
The three works heard here are substantial sized selections for flute and piano duo, all of which reveal Moyse as a dedicated neoclassicist. His two sonatas for this scoring, written in 1975 and 1998, follow the standard four-movement pattern exhibited by 19th and early 20th century examples of the genre. The first is more obviously French in feel, with the first and third movements putting forth a frothy insouciance reminiscent of Poulenc, the slow movement containing a supple Debussy oriented midsection, and the understated waltz-like finale mirroring certain aspects of Ravels output. Only the fugato development section of the opening movement and the measured, foreboding outer parts of the slow movement furnish non-Gallic gravity. Sonata no. 2 demonstrates a more severe sound without obviously resorting to Germanic trappings. Its scherzo is gleefully bumptious, its outer movements contain fugal material, and its slow movement employs static accompaniment patterns and a cadenza section all containing roots in late Schubert but showing no overt similarity. Despite the aforementioned influence of various early 20th century French masters, Moyse does not usually employ slavishly imitative harmonies in either work, generally putting forth a more clangorous sonic palette that admits polytonality and similar techniques. Your reviewer had previously reviewed the work Introduction, Theme, and Variations (1980) at an Ought-One Festival live performance. This rehearing revealed less overt Debussy kinship in the selections sound world than seemed apparent at first listen. True enough, certain passages are frankly Impressionist, but much of the piece shares the same comparatively spiky sound exhibited in the sonatas. However, it still conceives of its variations as widely varying individual entities without a broader overarching shape. In brief, the contents of this CD are ably written, if fairly tradition-mindedof Philippe Gaubert-like distinction. Flautists who want a break from more standard repertoire will want to give this music a hearing.
The performances here are excellent; flautist Karen Kevra and pianist Paul Orgel clearly love this music and make a compelling case for it. Both play with a substantial tone quality and handle the technical challenges of this body of work with fluid ease. Sound is good and editing is fine.