“Sonates romantiques: Violin Sonatas transcribed for flute” = FAURÉ: Sonata No. 1; GABRIEL PIERNÉ: Sonata; FRANCK: Sonata in A Major – Robert Langevin, flute / Jonathan Feldman, p. – Avie

by | Apr 1, 2011 | Classical CD Reviews | 0 comments

“Sonates romantiques: Violin Sonatas transcribed for flute” = FAURÉ: Sonata No. 1 in A Major for Violin and Piano, Op. 13; GABRIEL PIERNÉ: Sonata for Violin and Piano, Op. 36; FRANCK: Sonata in A Major for Violin and Piano – Robert Langevin, flute / Jonathan Feldman, piano – Avie AV2213, 74:55 [Distr. by Allegro] **1/2:
I have to say at the outset that, with the exception of the Pierné sonata, flute transcription is not the medium through which I want to hear this music. The only reason I’m open as far as the Pierné is concerned is that I’m not familiar with it and so have no special predilections. Also, since the sonata isn’t widely available on disc even in its original scoring, it’s nice to hear the piece in any guise.
In transcription, Fauré’s early sonata works better than the Franck because its temperature is cooler, its temperament more suavely Gallic. But then the Franck is an altogether grander statement. Probably the most beloved of all violin sonatas, Franck’s A Major is powerfully and variedly emotive, and for me the predominantly white tone of the flute can’t convey the hotter emotions of the work. A flutist with an especially big tone and dramatically wide vibrato can, however, provide a more convincing simulacrum of the emotional experience. That description matches the playing of James Galway precisely, and in his RCA recording he makes a far stronger case for the flute transcription than Robert Langevin does. Plus, Galway is accompanied by fire-breathing Martha Argerich, who almost steals the show in the temperamental second movement Allegro.
Langevin and Feldman’s cultured playing is a better fit for the Fauré. However, as a comparison, I sampled Paula Robison and Ruth Laredo’s performance of Fauré’s Sonata on Musical Heritage Society and found the playing there more engaged and engaging. Another minus: Langevin and Feldman play the third movement Allegro vivo in a skipping fashion, closer to staccatissimo than staccato. This makes the movement sound edgy rather than playful. It happens in no other performance I’ve heard, on flute or violin, and it’s flat-out wrong.
Canadian-born flutist Langevin studied with Aurèle Nicolet and Maxence Larrieu and served as associate principal flute with the Montreal Symphony (still probably the best “French” orchestra in the world), so there is no question as to his grounding in and experience with French music. Certainly, there’s no question about his utter mastery of the technical demands of this music. The problem lies in the coolness and objectivity of Langevin’s playing. While I was glad to make the acquaintance of the Pierné through his performance and will certainly return to it, I’ll turn elsewhere for the other masters on the program, and I recommend that you do so as well.
–Lee Passarella

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