Bulgarian Emil Tabakov (former double-bassist and now composer and conductor) has written a flute concerto of gargantuan proportions. Indeed, the large orchestra and very long length (almost 30 minutes) almost go against the grain of the delicate and somewhat subdued nature of the instrument. Perhaps that is why he felt he had to use two flutes. But the first movement is almost a tone poem unto itself, tragic, sensitively engaged with exploring the more reticent and retiring aspects of the flutes, and also far too long. By the time the second and last movement arrives we are ready for a break. And then we get an initially interesting but ultimately tiring motive (it is really catchy) that long outlasts its welcome. This motive is more rhythmically than melodically interesting (very mantra-like in its incessant repetition), and ends up with an explosion of an orchestral orgy hammering it all into your head one last time. It’s not that Tabakov has created something uninteresting or unworthy—it’s just that he needs to have some more discretion in terms of proportion. If this whole piece was 20 instead of 30 minutes long, it would make a world of difference. Flutists Gallois and Bernold play the heck out of the thing though.
No sooner do we leave one rhythmic orgy do we find ourselves sitting in the midst of another one. The opening movement of the Piano Concerto again pounds a very similar rhythmic motive into our ears—in fact, it is almost the exact rhythm from the last movement of the Two Flute concerto. Since this piece was composed in honor of the anniversary of the Turkish army, one can appreciate the military and march-like quality of the music. The second movement has a floating and almost Mahlerian “nachtmusik” quality about it, with tinkling here and there rising out of nowhere and then fading just as quickly. There is no melodic component to speak of, but a lot of atmosphere. The last movement is the most interesting, a cacophony of wild and undisciplined sounds that settle down into some quieter melodic fragments before being awakened by the force and fury of the full orchestra. Again I must reiterate—Tabakov’s ideas are good, but he relies too much on repetition, ostinato, and endless presentation of the same ideas in different guise with no development. The result is one of fatigue and a concern for the composer’s ability to integrate his frequently excellent material in a more holistic manner. Pianist Jean-Philippe Collard makes the most of the percussive and busy part.
The sound is very good on this release, and the Turkish Bilkent Symphony plays with enthusiasm and competence.
— Steven Ritter
