Alwyn: Concerto for flute & eight wind instruments; Naiades; Divertimento for Solo Flute; Trio for flute, cello & piano; Flute Sonata; French Suite

Alwyn: Concerto for flute & eight wind instruments; Naiades; Divertimento for Solo Flute; Trio for flute, cello & piano; Flute Sonata; French Suite

Fine as William Alwyn’s symphonies are – especially the one-movement Fifth – the musical thought often seems to me richer and more personal when he composes on a smaller, more intimate scale. The wit and atmospheric magic of the best film scores is here, but in condensed form, and with a delicate, sometimes slightly naughty Gallic sensitivity that gently recalls Poulenc. The Concerto for Flute and Eight Wind Instruments is typical, though something of the seriousness of the symphonist emerges very effectively in the finale’s climactic fugal

Published: January 20, 2012 at 4:03 pm

COMPOSERS: Alwyn
LABELS: Dutton
ALBUM TITLE: Alwyn
WORKS: Concerto for flute & eight wind instruments; Naiades; Divertimento for Solo Flute; Trio for flute, cello & piano; Flute Sonata; French Suite
PERFORMER: Philippa Davies (flute); Nash Ensemble
CATALOGUE NO: CDLX 7176

Fine as William Alwyn’s symphonies

are – especially the one-movement

Fifth – the musical thought often

seems to me richer and more personal

when he composes on a smaller,

more intimate scale. The wit and

atmospheric magic of the best film

scores is here, but in condensed

form, and with a delicate, sometimes

slightly naughty Gallic sensitivity

that gently recalls Poulenc. The

Concerto for Flute and Eight Wind

Instruments is typical, though

something of the seriousness of the

symphonist emerges very effectively

in the finale’s climactic fugal

episode – extraordinary, too, how

much Alwyn makes of this modest

instrumental line-up.

Perhaps the most impressive

achievement is the Divertimento for

Solo Flute: light as thistledown, yet

endlessly inventive – hard to believe

an unaccompanied flute can hold

the attention for nearly quarter of

an hour. Of course the quality of

the performances is an important

factor too. The Nash musicians never

sound less than completely absorbed

and technically on top of every

detail. Flautist Philippa Davies is a

delight throughout, and yet there’s

nothing egoistic about her playing:

even in the Concerto she feels more

like the inspired leader of a chamber

ensemble than an attention seeking

‘star’. These are lovely recordings,

in which each contrasted ensemble

is beautifully balanced.

Stephen Johnson

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