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)
All of the works on this recording evidence the hallmarks of Martin Amlin's style: a facile flow of elaborate rhythms; a harmonic language rich with the notes that comprise seventh chords; a non-strict usage of tone rows; an honoring of the past through recognizable formal structure and thematic evolution; and a French sensibility that might be described as neo-impressionistic. A student of Nadia Boulanger, Martin Amlin received masters and doctoral degrees from the Eastman School of Music. He is the recipient of numerous prizes and awards and has been a resident at Yaddo, the Virginia Center for the Creative Arts, and the MacDowell Colony. A member of the faculty at Boston University, he is also director of the Boston University Tanglewood Institute Young Artists Composition Program. A noted pianist as well, he performs the works on this CD with noted artists Leone Buyse and Michael Webster, who have long been advocates of his music.
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.
John Cage’s innovative work and unorthodox ideas profoundly affected Western music during the latter half of the 20th century, and this second of two volumes (volume 1 can be heard on Naxos 8.559773) concludes Katrin Zenz’s survey of his complete works for flute. The earlier chromatic compositions include an astonishing variety of playing techniques and a bewildering rhythmic complexity, while the elements of chance in the later works result in music that is always undergoing kaleidoscopic processes at once arbitrary and intensely focussed in form and expression.