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Reinecke: Flute Concerto, Harp Concerto, Sonata Undine / Rampal, Laskine, Scimone

Reinecke / Rampal / Bamberg Sym Orch / Guschibauer
Release Date: 10/10/2005 
Label:  Apex   Catalog #: 4623622  
Composer:  Carl Reinecke
Performer:  Jean-Pierre RampalRobert Veyron-LacroixLily Laskine
Conductor:  Theodor Guschlbauer
Orchestra/Ensemble:  Bamberg Symphony Orchestra
Number of Discs: 1 
In Stock: Usually ships in 24 hours.  

Notes and Editorial Reviews

I listened to these concertos immediately after hearing the Albeniz piano concerto (reviewed on p. 818) and oh, what a difference. For in both, and especially in that for harp, Reinecke has something to say and he says it with both skill and imagination. He and Albeniz, by the way, were exact contemporaries: Reinecke's dates being 1824-1910 and those of Albeniz 1860-1909.

The great thing, for a start, about the Harp Concerto is that Reinecke never resorts to sweeps up and down the instrument just because he cannot think of anything else; he mostly states his material and develops it in good solid chords or with just a melodic line picked out by the solo instrument. Indeed, his variety of invention for an instrument usually, if
Read more mistakenly, regarded as merely a decorative part of the orchestra, with limited resources, is wholly admirable. So are his musical ideas.

The work has character right from the start and the harp very soon enters with a good theme. The music is cogently argued, including the cadenza, which is much to the point and not mere glissando waffle. The orchestra eventually steals in most poetically. The slow movement has delightful solo counterpoint to a good orchestral part. Then the harp just picks out the notes of the tune with quiet string decoration. The finale is notable for its imaginative use of the trumpet. The orchestra sounds well in this recording and all is excellently recorded, while Lily Laskine is superlatively good. So, almost needless to say, is Rampal in the Flute Concerto, though this did not seem to me so distinguished a work. Yet it has many imaginative touches, while its finale combines brilliance with a fine expansiveness.

Reinecke's compositions run to 288 opus numbers, of every sort—and not excluding opera! How he did it, amidst all his touring and many appointments, I can't imagine. But at any rate, there is plenty to explore further and on the evidence of these concertos, further exploration might be rewarding, even if it yields only a small amount of grain amongst a good deal of chaff. Lesser masters can provide an agreeable change from the over-played masterpieces.

– Gramophone [11/1971], reviewing original LP of concertos
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Works on This Recording

Concerto for Flute in D major, Op. 283 by Carl Reinecke
Performer:  Jean-Pierre Rampal (Flute)
Conductor:  Theodor Guschlbauer
Orchestra/Ensemble:  Bamberg Symphony Orchestra
Period: Romantic 
Written: by 1908; Leipzig, Germany 
Sonata for Flute and Piano in E minor, Op. 167 "Undine" by Carl Reinecke
Performer:  Robert Veyron-Lacroix (Piano), Jean-Pierre Rampal (Flute)
Conductor:  Theodor Guschlbauer
Orchestra/Ensemble:  Bamberg Symphony Orchestra
Period: Romantic 
Written: circa 1885; Germany 
Concerto for Harp in E minor, Op. 182 by Carl Reinecke
Performer:  Lily Laskine (Harp)
Conductor:  Theodor Guschlbauer
Orchestra/Ensemble:  Bamberg Symphony Orchestra
Period: Romantic 
Written: Germany 

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