Can the idiomatic challenges of Paganini’s 24 Violin Caprices translate to the flute? After all, the flute lacks the violin’s capability for chords and encompasses a smaller range. Nineteenth century flutist Julius Herman’s transcriptions address these issues to convincing effect. For instance, Paganini’s scampering double-stops are replaced by cascading arpeggios, while ricochet grace notes imply octave passages. Perhaps Paganini’s edgy bravura is pacified without any strings attached, yet the composer’s melodic prowess and keen wit emerge unscathed. More to the point, Bonita Boyd makes these Caprices seem utterly easy to play. Each selection comes off with just the right blend of poetry and panache, thanks to Boyd’s ebullient virtuosity and multi-hued timbre. Adventuresome flute fanciers, though, should try to locate a 1992 Deutsche Grammophon recording with Patrick Gallois. The Frenchman’s arrangements approach the Caprices from the vantagepoint of 20th century flute techniques, including circular breathing, flutter tonguing, and humming into the instrument. This takes nothing away from Boyd’s more conservative yet no less accomplished tour-de-force, captured in warm, realistic sonics.
