The late 18th century was a transcription-heavy time, and it would seem that the substitution of a flute for the violin in Mozart's sonatas for violin and piano would be the most natural thing in the world. Yet it doesn't quite work out that way in this release by French flutist Patrick Gallois and Bulgarian pianist Maria Prinz. The music makes a perfectly pleasant impression; Gallois comes from a long line of French players whose tone alone is probably worth the purchase price, and he's got a lovely way with Mozart's melodies.
This is a reissue of a disc originally released in the 1990s, performed on period instruments. The difference in pitch with modern instrument recordings is notable and gives a darker feeling to the sound than the brightness one has become accustomed to with the modern flute. In this recording, Konrad Hünteler uses an instrument made by Jacob Denner, which was approximately ten years old when these works were composed. The recording is made using only the natural acoustics of the space with no added technological trickery, and as such, it serves to provide an interesting example of what this music may have sounded like at the time Vivaldi composed it.
The Murail "Tellur" is a fantastic work, in fact when you hear the opening it doesn't sound like a guitar, more like electronic music,it begins in the high register,harmonics used, that slowly then decends, the impetus of the work is the flamenco style of playing mixed with these extended techniques, The French avant-garde, French composers are not prolific, they hone single works for months prior to writing, and really only write single works within any genre, (this is Murail's only work for the guitar) The Lachenmann by contrast is a early work before he really discovered his voice and relays, relies on the performers reciting text of Chris Caudwell,activist like stuff that today sounds very dated in a self-conscious way.