…”There won’t be many listeners who will object to the spirited melodies and jaunty rhythms that Aguilar writes in his Concertino for Piccolo and Strings. The high range of the piccolo provides a zippy foil for the strings in the first movement. A contemplative slower second movement is followed by a happy choro (a Brazilian folk form played by a band and used in popular and classical music). Hendrik Hofmeyer’s Double Concerto for Violin and Flute (2002) structurally mirrors a traditional 18th century concerto for solo instrument and strings. The first movement contrasts a rhythmic first theme with a lyrical second. The sadly beautiful Adagietto builds to a moving climax, followed by a lively Vivace scherzoso in rondo form.
In Alberto Colla’s one-movement Quasi una Romanza for Flute and Strings, contrasts are created by juxtaposing lyrical sections with dissonant ones in this 22-minute work. The melodic line is held by the flute, which becomes a soloist in a cadenza-like middle section. This is the most interesting and harmonically advanced work on the CD and flutist Trevisani negotiates the challenges impressively.
In Shakespeare’s play, The Tempest, Ariel becomes the “acrobatic executor of Prospero’s sorceries…he’s swift and skillful, and, at the same time, incorporeal and immaterial, “void” without Prospero’s witchcrafts,” writes composer Carlo Galante. In his I Sospiri di Ariel for Flute and Strings, the flute becomes Ariel in this non-narrative evocative concerto. It’s a virtuosic vehicle for the flute that is delightful, and rhythmically acute with a melancholic undertone. Raffaele Trevisani combines musical understanding with technical proficiency in this work, as he does throughout this CD…”
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