The flute is an exceptionally tough instrument to play well–it must be, given the distressingly intonation-challenged performances you commonly hear in the concert hall and on recordings, even from professional players, not to mention those presentations that challenge the ear in other ways, such as harsh breathiness and strident tone. I’m not sure if God really intended such an instrument to serve as the main attraction in an entire recital or even in extended solo works (such as a concerto or sonata), but with the right music and a flutist who really can make the instrument sing with the kind of expression and warmth that invites rather than disturbs the ear (while preserving something of the flute’s edgy, metallic brilliance), well, even the most jaded flutophobe has a chance for some truly enjoyable listening.
Need I mention that in Linda Chatterton we have such an artist, and in this choice of repertoire we are able to really appreciate the flute’s value as a solo instrument? Unlike many performers of her elite caliber, she mostly spares the listener the harsher qualities of the flute’s timbre, engaging our ears and musical sensibilities with a mellifluous tone and articulation that captures the most agreeable aspects of the instrument’s voice, showing its capacity for assertive power as well as its “softer” side–caressing, subtle, tender, warm. Her technique and mastery of the most difficult challenges of speed, breath control, and, yes, intonation, are pretty impressive–all of which are brilliantly on display in Roberto Sierra’s fiery, sultry, raucously dancing Sonata.
As mentioned, all of the music here–besides being excellent on its own–is ideally suited for the flute, from Aaron Copland’s classically masterful Duo, to the Sonata by Lowell Liebermann, whose affinity for this instrument (notably, he’s also written a couple of concertos and also a trio for flute, cello, and piano) is clearly evident in the fluid, naturally expressive melodic writing and un-obstructive, carefully integrated piano. And speaking of piano, Chatterton has a perfect partner in John Jensen, who seems to understand the inherent problems that could threaten the balance and voicing in this particular lineup of instruments, always exhibiting an appropriate dynamic and textual awareness.
The flute also is very tough to record well–but Chatterton benefits from a fine production team who made the most of their Minneapolis studio setting to create a delightfully intimate recital-hall ambience. Normally I’d say that a disc like this is recommended primarily for flute aficionados–but wait a minute–I’m not a flute aficionado (quite the contrary!), and I really enjoyed it too! What that means I guess you’ll have to decide for yourself, but meanwhile, this disc gets a strong recommendation–to all. [4/14/2009]
