CD “FAURÈ, SCHUMANN, SCHUBERT, BORNE”
Francesca Canali: Flute
Marco Grisanti: Piano
Recorded 2003
LOL Production 2004
REVIEWS:
“Un recital per flauto e pianoforte recentemente registrato da Francesca Canali. I brani scelti sono notissimi (Schubert, Borne) e noti (Schumann e Fauré) ma sono ottimamente eseguiti e mettono in risalto le doti tecniche ed espressive della giovane solista (suono pieno e timbrato, sicurezza digitale, controllo della dinamica e ottima intonazione). Ottimo anche il partner pianistico, Marco Grisanti, che sfoggia grande bravura nelle variazioni di Schubert solistiche e nelle zone “calde” della fantasia di Borne. Un presenting riuscitissimo che si avvale come apporto iconografico di alcuni splendidi scatti fotografici della stessa Canali che dimostra eclettismo artistico anche per la citazione nel booklet di una filosofica citazione di Conrad. Una flautista creativa! Una solista da “tenere d’occhio”!” Maurizio Bignardelli – Rivista Syrinx N.65 – settembre 2005
“Un recente ascolto dell’ultimo CD di Francesca Canali mi ha molto colpito! Sin dall’inizio aggancia l’attenzione, coinvolge, emoziona. Emerge chiaramente un personale modo di suonare, di vivere ogni attimo della musica con intensità, slancio e gioia. Guidati da un puntuale controllo su ogni suono, ogni stato d’animo e vissuti con profonda conoscenza dei vari stili. Brani che per la loro immortale statura vengono comunemente “battuti” da una masnada di flautisti e spesso eseguiti con spirito circense, rampante e approssimativo…Insopportabile! Qui invece tutto si irradia nel modo più fluente e poetico. Maturato da un costante e progressivo lavoro grazie anche alla superba omogeneità del suono e alla dizione eccellenti.
Tutto permeato da una serenità interiore che riesce a tradurre ogni infinitesimo respiro, ogni vibrazione in vere emozioni: nulla è lasciato al caso!
Il CD è di ottima qualità. L’impasto del flauto col pianoforte risultano fusi ed omogenei in un duo con l’eccellente Pianista Grisanti. Qui le linee della musica si impongono come fatto primario, grazie all’intelligente capacità degli interpreti di fondersi in un tutt’uno lasciando emergere il VERO SENSO DELLA MUSICA. Mi congratulo con le migliori felicitazioni.!” Giuseppe Garbarino, 30 Luglio 2005
“J’ai écouté avec un immense plaisir votre CD! Tout spécialement la Sonate de Fauré, que j’ai beaucoup travaillée avec mon Maître George Enesco, lui-même élève de Fauré! Votre interprétation m’a ravi, ainsi que celle de votre excellent partenaire. Jouée de cette façon, cette Sonate est un enchantement !
Très heureux d’avoir aussi l’œuvre de Schubert et de Schumann !! Je vous adresse donc tous mes remerciements! ” Marcel Debot, 31 Maggio 2004
SOME INFORMATIONS ABOUT THE PIECES IN MY CD
GABRIEL FAURÉ “Sonata for flute and piano N.1 in A Major, op.13”
Beginning in the middle of the last half of the nineteenth century there appeared a number of exquisite French violin sonatas which share the elements of lovely melodies, elegant expression, tasteful and sincere emotionalism, and well-balanced forms, as well as occupying a special place in the repertoire and affections of violinists the world around. Franck, Saint-Saëns, Fauré, Debussy, and Ravel are all contributors to this line of great sonatas.
Fauré, in fact, contributed two such sonatas, separated by 40 years, of which this one is by far the best known, and may be said to have initiated the line. Florent Schmitt correctly wrote that its appearance "marks a red-letter day in the history of chamber music."
Each movement has at least one achingly lovely lyrical theme. The passionate first theme is shared by both instruments (piano and violin are treated as partners throughout the work, rather than as soloist and accompaniment). The second movement, Andante, is reticent, almost shy, in character, with a fine melody for violin. The Scherzo is light-hearted in its outer sections, but lyricism returns in its central section, or "trio." Finally, the last movement is dramatic and emotional, yet even here there is an interlude with a lovely romantic theme. ~ Joseph Stevenson, All Music Guide
ROBERT SCHUMANN “3 Romances for oboe (flute or violin) and piano, op.94”
Schumann wrote these three pieces in December 1849. His efforts were not tied to a commission or request by a prominent soloist of the day, unlike other examples in the genre from Weber, Spohr, and others of that era. Thus, they are not particularly challenging pieces, and may in fact be convincingly performed by good amateur oboists. Some listeners coming to this music for the first time might be surprised that compositions so clearly out of the realm of virtuosity, as this trio surely is, could achieve such a high level of art. The fact is, they are more often cited as being the greatest works for oboe from the Romantic period than any others. Of course, a violin, flute, or cello can replace the oboe in the score -- and can deliver nearly as satisfying a result.
The first piece, marked Nicht schnell (Not quickly), presents a lovely theme on oboe, supported by imaginative accompaniment on piano. The mood is tranquil throughout. That description might also apply to the second piece, marked Einfach, innig (Simply, ardently), but for a somewhat tense middle section. All three pieces are very similar in the character of their main themes: each, in fact, is songful and might have served the voice just as well as the oboe. The third piece is the liveliest of the trio. Marked Nicht schnell, it is also the most rugged and colorful-sounding one in its main theme. There is more than a hint of Brahms here, a composer who was just beginning to make his mark. The middle section is lovely, similar in character to the opening melodies of the first two pieces. The piano accompaniment is deftly wrought throughout, never overwhelming the oboe, yet always making its supportive presence felt. These Three Romances were first published in 1851 and soon entered the repertory of concert oboists throughout the world. ~ Robert Cummings, All Music Guide
FRANZ SCHUBERT “ Theme and Variations on “Trockne Blumen” for flute and piano in e-minor, D 802 (Op. posth. 160) ”
Franz Schubert finished work on his song cycle Die schöne Müllerin in November 1823. Two months later, in January 1824, he set about recasting the melody of the cycle's 18th song, "Trockne Blumen" (Faded Flowers), into a set of variations for flute and piano. This Introduction and Variations on "Trockne Blumen" in E minor, D. 802 apparently grew only from Schubert's own notion to further explore his song's melody and not from any special practical impetus; the work may, however, have been composed with Schubert's flutist friend Ferdinand Bogner, a professor at the Vienna Conservatory, in mind. As is commonly true of his works, it remained unpublished, and possibly unperformed, during Schubert's lifetime. In 1850, the Introduction and Variations on "Trockne Blumen" were published for the first time as Op. 160, and were immediately and fervently accepted into the repertoire by a brotherhood of flutists who, during the nineteenth century, were given precious little new music.
Schubert prefaces his theme and seven variations with a substantial introduction (Andante), during which vague rhythmic outlines of the coming theme can occasionally be heard to emerge from the seemingly improvisational texture. The theme itself is little changed from the actual song, however there is a new tempo indication (Andantino as opposed to the Ziemlich langsam of the Lied); Schubert follows his usual practice of employing German indications in his songs and Italian indications in his instrumental pieces. Some ornamental notes have been added (it is actually these ornamented figures that are most strongly foreshadowed in the introduction), and most of the phrases are played twice to let both the pianist and the flutist try them out before the variations begin. The variations are crafted in the usual nineteenth-century manner, culminating in a grand and virtuosic Variation VII, wholly in E major, whose dimensions, like those of most variation-finales, are expanded far beyond those of the actual theme. ~ Blair Johnston, All Music Guide
FRANCOIS BORNE “Fantaisie brillante on themes from Bizet’s Carmen for flute and piano”
In France the design and construction of flutes reached a point unmatched elsewhere in Europe in the nineteenth century, as Paul Taffanel, flute teacher at the Paris Conservatoire, developed a new flute-playing technique. Composers were willing to compose works to display the new brilliance and virtuosity that resulted.
These composers ranged from the great ones such as Debussy and Fauré to ordinary composers, such as François Borne (1840 - 1920). He was an expert on flute design and playing and used this specialized knowledge to write works ideally planned to display every bit of the player's virtuosity.
One of the best of his works is this Fantaisie Brillant on themes from Bizet's famous opera. In about 12 rapidly paced minutes, Borne runs through many of the great themes from this most popular opera. He has the most fun with the Habañera, which he not only sets brilliantly but pauses to add a pair of increasingly flashy variations.
The fantasy begins with the music of Carmen's first entrance in the opera, goes to the "fate" theme, the cigarette girls' song from Act I, the Habañera, and then builds up in excitement for the Gypsy Dance. Just as the piece seems ready to close, Borne trumps all that has come before with a triumphant statement of the one famous theme that has been missing in action so far, the Toreador Song.
There's nothing at all intellectual about this music, but it is a certain crowd-pleaser for flutists with sufficient technique. ~ Joseph Stevenson, All Music Guide
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