A cheerful little record, this, of three lightweight works played most exquisitely by very distinguished artists. In fact I am not sure that the chief distinction doesn't emanate from the orchestra: it is a while, as it happens, since I have heard the Academy of St Martin in the Fields and they seem to be playing here better than ever—sweet string tone, pure intonation, finely moulded phrasing, impeccably precise ensemble. Of the three works, the Cimarosa, written for two flutes (in which form it has several times been recorded), is the most attractive for its fluency, its melodiousness (the finale is a real charmer) and its elegant musical form; the Salieri seems by comparison rather carefully devised, though of course it has plenty of entertaining music. Carl Stamitz's piece takes itself more seriously, trying to be symphonic and taking less trouble about being tuneful—though the warm, galant slow movement makes very pleasing listening. The recorded sound is clear and true. (Stanley Sadie, Gramophone)
On the evidence of this sensational disc, it seems clear that Sharon Bezaly is a flutist virtually without peer in the world today. The only serious competition for top position comes from Emmanuel Pahud, also a superb artist but one whose discography, fine enough in and of itself, fails to rise to Bezaly's level either in terms of imaginative programming or in its commitment to commissioning and recording worthy new works for the instrument./quote]
Reinecke's work is a musical re-telling of the well-known story of Undine, the water spirit who marries a knight, but is betrayed and takes her revenge on him. Frank Martin's virtuosic Ballade (1939) features an acrobatic flute cadenza, roaming melismas and irrepressible cascades, generating a compelling sense of drama. In 1945, while in exile during the German occupation of Czechoslovakia, Martinu composed his Flute Sonata, in which the virtues of his distinct musical language are plain to hear - lyrical lines, a rhythmic drive which is both energetic and lively and an effective use of tone colour.
Here comes from a guy nickname as "The Handel of Sweden". Johan Helmich Roman is Baroque composer born in Stockholm. He was a violinist and oboist. He was leading figure in Swedish Royal Orchestra back then in 1720s. His most famous work happened to be a wedding compilation called "Drottningholmsmusique" a large orchestral suite for the wedding of the Crown Prince Adolf Frederick of Sweden and Louisa Ulrika of Prussia. In this CD we found 12 flute sonatas for Basso Continuo, which replaced by harpsichord and cello. The form was most famous back then for flute enthusiast as they are simple. The pieces are somehow Handellian in spirit. This CD will enrich our experience and knowledge in Baroque flute repertoire. The whole CD is given performance by flutist Jed Wentz, who happened to be American flutist born in New Brighton PA. He is expert in Baroque repertoire.
When contemplating the baroque period in French music in connection with the flute, it would probably be names such as Hotteterre, Blavet or Mondonville which would first come to mind. Joseph Bodin de Boismortier was something of a mass-market composer whose many works served as much to earn his keep as to supply the amateur music market with fairly playable pieces. But his six sonatas (opus 91), although in many ways conventional, do require some very good playing from both performers and are distinguished by having the harpsichord part fully notated.