PAULA LIVE! • Paula Robison (fl); Jean-Yves Thibaudet (pn);1 Yefim Bronfman (pn);3 Thimothy Hester (pn);4 Ayano Kataka (perc)2 • PERGOLA 1038 (64:39) Live: 1984;3 1988;1 2001;4 20062

LIEBERMANN Flute Sonata.1 KIRCHNER Lily: Flutings.2 PROKOFIEV Flute Sonata.3 FRAZELLE Blue Ridge Airs II4

Paula Robison’s newest CD has many characteristics that make it original and worth acquiring. First and foremost, it is an important documental source, since by now there is no doubt that Robison’s name is inscribed in the history of her instrument. One of the most important American flutists, Paula Robison has led a very active and fruitful musical life, both as an acclaimed performer and as a professor. Recordings that show her mastery of the flute are thus extremely welcome, and should be cherished by flutists of all ages. But this one is especially interesting: first of all, it carries three world premieres, no less! And second, it contradicts some of the most common trends of the recording industry.

These days, to be able to make a recording, a flutist’s best bet is to uncover a completely unknown composer from the 19th century and release his or her complete works. This means it will appeal to flutists, music amateurs, and completists alike. It will also be well received by shop owners, who will know under which letter to classify it. For this reason, the CD that presents the performer’s personal choice of works, much like a recital, has been a scarce convenience. Besides, the latest technological progresses have resulted in recording techniques that are short of miraculous. One can play in a tiny studio, and then manipulate the recording to make it sound as if it were made in a spacious church. Even more: computer programs let you decide the acoustical conditions of which church you want to replicate. One should not forget the convenience of cutting and pasting at will, and of playing without the added pressure of not being allowed any blunders. So the live recording is rapidly becoming a rare beast.

Paula Robison can easily face the challenge of letting herself be portrayed without makeup, so to speak. Her performances are flowing, inspired, and technically accomplished. The tone is beautiful and flexible: it can be surprisingly delicate in the highest notes, as well as aggressive when needed, even in the lower regions. Intonation is flawless, articulation rich. Phrasing is always natural and lyrical. But the main quality is the total engagement of the flutist in the works she plays, which is apparent not only in the passionate Prokofiev Sonata (in a recording made in the 1980s), but also in the more recent works, that through her energy and understanding come to life in very vivid colors. Her partners in this CD need no introduction. They are all first-class musicians, well known to music-lovers around the world.

The choice of the new works recorded was smart and wise. The Sonata by Liebermann is perhaps the most traditional among the three world premieres. It is extremely poetical, full of Romantic pathos, with easily understandable melodic lines supported by a wealth of harmonic invention. The writing is totally idiomatic for the flute, and it will certainly find a place among the flute standards of our day. Kirchner treads in more dangerous territory, with an experimental vein that suggests rather than declares. It is a delicate work, nuanced and instigating. Blue Ridge Airs II, by Kenneth Frazelle, is probably the most spectacular of the three in terms of excitement and effect. With quotes from different sources, it explores the flute’s ability to create explosive virtuosic passages, and is the kind of piece that will make the audience cheer wildly at the end of the recital.

A live CD with a varied program, spanning more than 20 years, featuring new works for flute as well as Prokofiev’s marvelous Sonata, and showcasing a musician that has acquired a large following is indeed reason to celebrate. But this recording has other fundamental qualities: the new works presented here are more than just curiosities. They reveal composers that are as interesting as they are different from each other, proving Robison’s acumen in discovering true talent not only among flutists, but also among composers.

Ah, before anyone brings it up: even though she probably will not remember me, I am not completely unbiased as concerns Robison. In my twenties, when I first went to the States to study at SUNY, Paula Robison was the star of the moment, and being completely unaware of social mores in the States, I decided to look her up. In the midst of her very busy life, Ms. Robison managed to find time to offer me coffee and advice, and I remember fondly the conversation we had, and how empowered I felt—a nobody from a third-world country having an afternoon with one of America’s most famous musicians. Many years later, I am happy to see that she still finds the time and the energy to be open to new people and new sounds.

FANFARE: Laura Rónai