back


 


 

Deutsche Flötenkonzerte / German Flute Concertos

Bruno Meier, Flöte/Flute
Prager Kammerorchester / Prague Chamber Orchestra
NAXOS 8. 570593 D (2008)

CD des Monats September 2008 (Naxos Deutschland)

Zu bestellen auch bei:

www.naxosdirect.com
www.amazon.de
www.amazon.com
www.classical.net
www.classicsonline.com
www.cduniverse.com
www.prestoclassical.co.uk

These four flute concertos, here recorded for the first time, span the fascinating half century that saw the emergence of Romanticism from the Classical style of the preceding decades. Each requires different forces, reflecting the growth of the orchestra during this time, while giving a prominence to the solo instrument which would decline as the 19th Century progressed. They are, therefore, rare treasures to enjoy for their diversity and unique position in musical history. The performance material for this recording was specially prepared from original sources by acclaimed soloist Bruno Meier.

Peter von Winter (1754-1825)
Flötenkonzert Nr.2 d-moll (1813)*
Flute Concerto No.2 in D minor
Cadenzas by Bruno Meier

Peter von Winter (1754-1825)
Flötenkonzert Nr.1 d-moll (1813)*
Flute Concerto No.1 in D minor
Cadenzas by Bruno Meier

Franz Lachner (1803-1890)
Flötenkonzert d-moll (1832)*
Flute Concerto in D minor

Antonio Rosetti (ca.1750-1792)
Flötenkonzert Es-Dur (Murray RWV C19)*
Flut Concerto in E flat major
Cadenzas by Bruno Meier



* Weltersteinspielung / world premiere recording

FANFARE (USA) , May 2009
World premiere recordings of any major works for my instrument understandably tend to kindle my interest right away, even before I listen to them. When they are works from the past, which have been forgotten for no fathomable reason, they get a special place in my CD collection. When, besides, they consist of delightful music, played with flair and competence, they inspire an especially emphatic recommendation. But this CD does more, and deserves more: it introduces to the music-lover no less than four previously unrecorded concertos, each one special in its own way, each one, by itself, worth the price of the CD.

The four concertos presented here were written at different times, and for diverse instrumental forces, but have enough in common to justify being gathered in the same recording, as the liner notes convincingly explain. The performances are equally convincing. Bruno Meier is a brilliant soloist, with a robust, round tone, amazing technique that seems to come naturally to him, a commendable sense of style, phrasing that is musical and flexible, and a personality that basks under the responsibility of facing an imposing orchestra. He displays bravura, wit, fluid legatos, a stunning variety of attacks, and a correspondingly big dynamic scope. His pianissimos are delicate and clean, the fortissimos bold and dense. The cadenzas that he wrote himself are all appropriate, virtuosic, and interesting.
The Prague Chamber Orchestra under Antonín Hradil's secure baton offers the perfect counterpart for such a soloist, giving him the needed support without crushing him under a sea of sound. The strings are tight-knit and nimble, and the winds-particularly important here, for they engage in long dialogues with the solo flute-are all first-class soloists in their own right. Let's not forget T?ma's creative harpsichord accompaniment. Everybody seems to be having a great time. And as we know, fun is contagious. You will find it hard not to join in.
Bruno Meier was responsible for the research that unearthed these concertos as well as many other praiseworthy flute works that had been long forgotten in dusty library shelves, works that he has been recording over the years. Composers like Krommer, Myslive?ek, Reicha, Vanhal, and Witt have gained a second lease on life thanks to his careful musicological research and loving performance. If you are at all interested in musical curiosities, in the flute, in music from the past, or simply put, in good music well played, don't miss this CD, especially at Naxos's very affordable prices. If you are a flutist yourself, getting to know these works is simply mandatory, no matter at what cost


Laura Rónai - FANFARE, May 2009


Das Orchester 05/2009
Eines der Mysterien der daran nicht gerade armen Musikgeschichte rankt sich um das immer wieder verblüffende Entdecken "verschollener" Kompositionen, die nach ihrer Uraufführung oder sogar einiger Zeit der Beliebtheit aus mitunter nebulösen Gründen gänzlich in Vergessenheit gerieten. Mit zu diesem Faktum beigetragen hat natürlich auch die musikhistorisch lange Zeit gebräuchliche Praxis, jeweils das Neueste zu spielen und sich nicht klanglich rückwärts zu orientieren. Auch sind die "Gelegenheitskompositionen" oder Gebrauchsmusiken Legion: nicht immer das qualitätvollste Beispiel vollendeter Tonkunst, sondern vielmehr häufig ein Abbild von wechselnden Moden, Fertig- und Besetzungsmöglichkeiten. Aber manchmal blitzen aus den Tiefen der Musikgeschichte auch Kleinodien hervor, die es gewissermaßen "verdient" hätten, ihren festen Platz im Konzertrepertoire einzunehmen.

So gelang es dem Flötisten Bruno Meier, mit der vorliegenden Weltersteinspielung von Flötenkonzerten aus Klassik und Romantik nicht nur das Flötenrepertoire im Bereich der virtuosen Spielarten zu erweitern, sondern durch seine sorgfältige Recherche und behutsame Einrichtung des Aufführungsmaterials auch für hoffentlich weitere Aufführungen zugänglich zu machen. Mit der CD "Deutsche Flötenkonzerte" gibt Meier gemeinsam mit dem Prager Kammerorchester unter der Leitung von Antonin Hradil einen musikalisch höchst spannenden Einblick in das kompositorische Schaffen von Peter von Winter, Franz Lachner und Antonio Rosetti. So kann der geneigte Hörer staunen, mit welch geradezu opernhaftem Zugriff etwa von Winter den Vorhang für die virtuos ein- und von Meier brillant in Szene gesetzte Querflöte öffnet. In bisweilen unerwartet schillernder harmonischer Verquickung entsteht hier trotz kleiner kompositorischer Schwächen ein großer Wurf, der allerdings im orchestralen Bereich hinter der Delikatesse des musikalischen Zugriffs des Solisten ein wenig zurücksteht.


Auch Franz Lachner setzt in seinem Flötenkonzert in d-Moll auf den dramatischen - zeitlich romantischen - Gestus, der hier in der vorliegenden Aufnahme klanglich vielleicht am überzeugendsten gelingt. Antonio Rosettis Flötenkonzert Es-Dur zeigt wieder die klassische Dimension in interessanten, der Flöte bestens liegenden Klangfarben und bisweilen längerer kompositorischer Detailverliebtheit, die Meier im orchestralen Dialog aber spannungsvoll und feinnervig interpretiert und auffängt. Die Musiker legen eine insgesamt hochinteressante Einspielung wertvoller Flötenkonzerte vor, die nicht nur für Flötisten eine Bereicherung ist!

Christina Humenberger - Das Orchester - Mai 2009 / Seite 68

 


Kassik-Highlight : Entdeckungen des "Flötologen"
Weil Flötenkonzerte aus der Klassik und Romantik absolute Mangelware sind, durchforscht der Schweizer Flötist Bruno Meier regelmässig Archive nach vergessenen Werken. Das Resultat ist mehr als bemerkenswert, denn es wurde Erstaunliches zutage gefördert.Mit dem Prager Kammerorchester hat Meier eine Reihe unveröffentlichter Konzerte von Rosetti, von Winter und Lachner erstmals eingespielt. Dazu wurden die handschriftlichen Partituren vom Solisten in akribischer Arbeit für die Aufführung eingerichtet und teilweise mit eigenen Kadenzen versehen. Es bleibt zu hoffen, dass dem "Flötologen" Meier weitere Entdeckungen gelingen und er so eine Lücke im Repertoire seines Instrumentes schliessen kann. Damit sind musikalische Überraschungen auch in Zukunft garantiert.

André Scheurer / Radio Swiss Classic - Radio-Magazin 43/44 - Oktober 2008

 


Der Schweizer Flötist Bruno Meier, Schüler von Peter-Lukas Graf, gehört nicht zu jenen Musikern, die sich mit dem Abspulen des Gängigen zufrieden geben. Im Gegenteil, er scheint von unbändiger Entdeckerlust erfasst. Auch wenn bei diesen Fundstücken nicht alles als Gold glänzt, so ist es doch edles Silber. Das gilt gerade für jene Stücke, die Meier jetzt als "Deutsche Flötenkonzerte" vorstellt : vier Werke zwischen 1778 und 1832, entstanden in der faszinierenden Übergangsphase zwischen Klassik und früher Romantik. Dabei war Meier gleich mehrfach gefordert: als glänzender Bläsersolist natürlich, denn es werden manch virtuose Ansprüche erhoben, dann als wissenschaftlicher Bearbeiter und keineswegs zuletzt als Verfasser angepasster Kadenzen.

Der am ehesten bekannte der Komponisten ist Antonio Rosetti, ein gebürtiger Böhme voll Sturm-und-Drang-Attitüde. Klassische Unterhaltungskunst mit höherem Anspruch - das gilt kaum minder für die übrigen Konzerte, die pikanterweise alle in Moll stehen. Also jene zwei aus der Feder des gelegentlich geschmähten Mozart-Konkurrenten Peter von Winter sowie der einschlägige Beitrag von Franz Lachner. Der Letztere, später hoch angesehener Hofkapellmeister in München, gehörte in jungen Jahren zum Schubert-Freundeskreis. Das prägte seine Musik; sie gibt sich melodiös,pendelt effektgewandt zwischen Passagen in lyrischer und brillanter Manier.

Mario Gerteis - Musik &Theater - Februar 2009

 

 

AMERICAN RECORD GUIDE , March 2009
These are first recordings of four flute concertos by three minor late 18th and 19th Century composers who deserve to be better known.
Peter von Winter (1754-1825) was born in Mannheim and became both a violinist and double-bass player in the fine Mannheim Orchestra. In 1778 he, along with many other orchestra members, moved to Munich when the Mannheim Orchestra was dissolved. In 1798 he was appointed Kapellmeister of the Munich Court Orchestra. During his career he also toured to Vienna, Paris, and London. He left a wide range of compositions that are of considerable interest and are slowly coming to records. (I now have ten of them.) His two flute concertos were written for Johann Nepomuk Capeller, the Munich Orchestra's principal, in 1813. The first one is in one movement with four parts. It is well written and falls felicitously on the ear as it alternates between major and minor key sections. The second one is in three movements and opens with distinctly military style themes, while III is in typical polacca style.

Franz Lachner (1803-90) was exceptionally long lived. He eventually studied music in Munich and then Vienna. There he became part of Schubert's circle. By the age of 23 he became Kapellmeister of the Kartnertor Theater and two years later gained the same post with the State Opera. He moved back to Munich in 1836 for 32 years as Hofkapellmeister and General Music Director. As his importance as a conductor grew, his time for composition decreased. Even so, he left many works behind when he died.

He wrote his flute concerto in 1832. It is in one movement and reminiscent of Schubert. Franz Anton Rossler (c.1750-92) was born in Leitmeritz, Bohemia. Little is known of his early life, but he served the Russian Count Orlov before taking a position in the court of Oettingen-Wallerstein in 1773. There he changed his name to Francesco Antonio Rosetti. Many other Bohemian musicians did the same thing. He gradually rose in importance while there. (His Requiem, written for Countess Maria Theresa in 1776, was performed in an expanded version for Mozart's funeral services in Prague in 1791.) This particular flute concerto-he wrote about 60 for various wind instruments, including 13 for flute-was probably written about 1778 and later was rearranged for horn. Although long passages are the same in both, there are also some notable differences. It proves to be a substantial concerto for flute and is well worth knowing.
Bruno Meier, the soloist here, studied with Andre Jamet in Zurich, Marcel Moyse in the USA, and Peter-Lukas Graf in Switzerland. He has been increasingly active as a musicologist in recent years, and he rediscovered and prepared these concertos for recording. Needless to say, his performances are very good, as is their accompaniment by the Prague Chamber Orchestra. The recording is good, too, as are the notes.


Carl Bauman - AMERICAN RECORD GUIDE, March 2009

 



Un disque absolument épatant...

Cathérine Buser - RSR Espace 2 / L'île aux trésors - 10.11.2008

 



Der Titel "Deutsche Flötenkonzerte" klingt nach Understatement. Dabei zeigt schon der erste Blick auf das Cover, dass diese CD mit vier Weltersteinspielungen aufwartet. Wer Bruno Meier kennt, wird nicht überrascht sein. Der Aargauer Flötist fördert seit Jahren vergessen geglaubtes Repertoire zutage - mit Gewinn, wie auch diese jüngste Einspielung zeigt. (...) Den unterschiedlichen Ansprüchen begegnet Bruno Meier nirgends mit selbstzweckhafter Virtuosität, sondern mit einer Noblesse, die den schlanken, eleganten Ton favorisiert. Die Empfindsamkeit des Musikers zeigt sich nicht allein im Umgang mit seinem Instrument, sondern auch in jenem mit dem Prager Kammerorchester, dem er seit langem verbunden ist.


Elisabeth Feller - Aargauer Zeitung / Kultur - 15.November 2008


DAVID'S REVIEW CORNER, November 2008
Bruno Meier's exploration into the world of unknown flute concertos here takes him on a journey from the classic era of Antonio Rosetti through to the early romantic period of Franz Lachner.

On the way we discover the long forgotten 18th century German-born composer, Peter von Winter. Of the three, it is Rosetti who still holds a place in the repertoire by virtue of his wind music, though he was a double-bass player before turning to conducting and composing, being successful in both. His flute concerto-which also exists in a version for horn-dates from the mid-1770s, and is a modest showpiece of the performer's technique, its main virtue coming from its long singing melodies. Based in Munich, Winter was highly productive as a composer and toured extensively through Europe enjoying much success as a performing musician. His two flute concertos are unabashed showpieces, the first of finger-knotting complexity and requiring considerable agility, a feature extended by Meier's demanding cadenzas.

Neither concerto contains earth-shattering melodic invention, but both are extremely pleasant. The Marco Polo label has made some of Lachner's music known, his life stretching through almost all of the 19th century and placing him in direct comparison with so many great composers that his modest talents simply could not match. His short one-movement flute concerto dates from 1832, his twenty-ninth year, and is a piece of perky brilliance. All four concertos receive their first recording, the scores having been prepared by Meier. Born in Switzerland, Meier has built a career both as a flute soloist and member of chamber orchestras. Clarity of articulation in fast passages is striking, and he has an intuitive feel for this period of music. Neat, tidy and unobtrusive support from the Prague Chamber Orchestra in an unfussy and well-balanced recording completes a likeable release.

David Denton


Much is made of the fact that Bruno Meier plays a 14-carat gold flute; that might be, but it is his golden sound that is more impressive. He and the Prague Chamber Orchestra make a somewhat gentle, even staid impression in these four concertos. Meier's understatement suits this repertory's fragile charms well, however, so no harm is done. The Prague Chamber Orchestra plays stylishly throughout.


Raymond Tuttle - Classical Net - 2009

 


The main attraction of this CD is the repertoire, which if not essential, is still representative of an era rich in developing styles and technique. There are two works by Winter, and one each by Lachner and Rosetti (real name: Franz Anton Roessler, a Bohemian composer). The soloist composed the cadenzas for all three works, which he plays with great empathy. The Prague Chamber Orchestra is famous as a conductorless ensemble, and is here led by concertmaster Antonin Hradil.


The New Recordings, cliffsclassics.com - Giv Cornfield - December 19, 2008