The solo concerto emerged in Northern Italy in the first quarter of the 18th century and rapidly became popular across Europe. The five works here demonstrate how concertos for the flute differ in Germany, Italy, and France. Outer movements usually retain the virtuosic elements that characterize the concertos of Vivaldi, but the Frenchman Michel Blavet infiltrates an exquisite Gavotte into his work, while Telemann’s superb melodies and rich harmonies are characteristic features of his Flute Concerto in D major. All five works exemplify the Baroque ideal of singing lyricism and passionate expression. Barthold Kuijken is an eminent leader in the field of early music. A virtuoso traverse soloist, teacher and conductor, he has shaped the fieldsRead more of historical flutes and historically informed performance over the last 40 years. His book, The Notation is Not the Music, is an artful summary of his research, ideas, and reflections on music.
The dance-like outer movements in the Vivaldi and Leclair cncertos are delightful. Lesser known but equally pleasing is the concerto by Blavet, long-time Paris Opera principal flutist. Recorded in 2013, 2014, and 2018, one or two sour notes in the accompaniment of the Blavet would point to recorded concert performances. Balances are very good and the sound is very consistent despite the different venue settings and time between recording sessions.