Widor: Suite for flute and piano, Op. 34

Through its unusual exploration of the sumptuous instrumental repertoire of the late Romantic period, late romantic presents an innovative collection of works for flute and piano. Assembled, transcribed and performed by the renowned Portuguese flautist Luis Meireles.

The disc presents an original suite for flute and piano by Charles-Marie Widor, and transcriptions of violin sonatas by Gabriel Pierné and Richard Strauss. Luis Meireles has long felt an affinity with this period of musical expression, and brings dedication and passion in this new and unusual recording, partnered with sensitivity and style by Maria Jose Souza Guedes at the piano. These works are rendered beautifully on a modern wooden flute finely crafted by Anton Braun, which combines the technical capabilities of contemporary instruments with the richness of tone quality presented by the wood. This choice of instrument allows for an illuminating interpretation of such lyrical masterpieces and marks an attempt to recreate the lost qualities of this presently metallic woodwind instrument.

Flautist Mathieu Dufour became one of the youngest players ever to hold such a position when, at the age of 25, he was appointed principal flute of the Chicago Symphony Orchestra by Daniel Barenboim. On this album he plays 20th century French music for flute and piano - by Poulenc, Martin, Widor, Dutilleux, Pierre Sancan, and Debussy - with the internationally renowned pianist Pascal Rogé.

After winning second prize at the Jean-Pierre Rampal International Flute Competition in 1990, third prize at the International Flute Competition in Budapest in 1991, and second prize at the International Flute Competition in Kobe, Japan, in 1997, Mathieu Dufour was appointed principal flute of the Orchestre National du Capitole de Toulouse, and three years later he became the principal flute of the Paris National Opera. Since becoming principal flute with the Chicago Symphony, Mathieu Dufour has made several critically acclaimed performances as soloist at such places as the Philharmonie in Berlin, and the Salzburg Festival with the orchestra and its esteemed conductor Daniel Barenboim.

This is the fourth release in Jeffrey Khaner’s “Flute Music” series on AVIE, following American Flute Music (AV 0004), British Flute Music (AV 0016), and French Flute Music (AV 0027). His album of music by Brahms (the ‘clarinet’ sonatas) and music by both Clara and Robert Schumann was released in 2005 – AV2075. Jeff is one of today’s most distinguished orchestral musicians. He is also a commanding soloist. This new CD offers a feast of fascinating music. Widor’s Suite was composed for the famous French flautist Paul Taffanel. Benjamin Godard, like Widor was on the staff of the Paris Conservatoire and his untimely death robbed him of the opportunity to hear the first performance of his Suite. The German composer Carl Reinecke lived a long life and he was a prolific composer, especially of chamber music. Saint-Saëns’ Romance started life as a piece for flute and orchestra but later he created a version with piano accompaniment, again for the flautist Taffanel, with whom he toured. The Franck Sonata needs little introduction, and versions of the famous violin sonata, are heard regularly in the concert hall in arrangements for flute, viola and cello.

Paul Taffanel became one of a select few players who significantly influenced the course and development of the history of the flute. Indeed, his influence on other flute players, on teachers and composers, and even on instrument makers, had such an impact that it is feasible to think in terms of a “Taffanel legacy”. He was clearly a musical force both on and off the concert platform. His imaginative approach to music conveyed through his expressive use of colour and intensity of sound was unique. Taffanel was dismissive of flute music that tended to concentrate on mere showmanship or on virtuosity for its own sake and there can be no doubt that at the time when he was a young student in the 1860’s, music of this type contributed to a popular perception of the flute as an instrument best suited for light entertainment.

Most of the works recorded here were written and performed during Paul Taffanel’s lifetime, 1844-1908. Several were written especially for him and some appeared regularly in his own recital programmes. Having lain dormant for far too long some of these imaginative compositions are recorded for the first time revealing, to “modern” ears, a rich treasury of music which typifies much of the music heard in the chamber music salons and concert halls of Paris at the turn of the 19th and 20th centuries.