This may make some perfect-pith listeners uncomfortable, yet it’s a highly original approach that works well, giving this movement extra meaning. In the slow movement, where Galway took us into a Hollywood-shot sunset, Andrada shifts the intonation a little, depriving us of complete tonal stability. The synchronization between Andrada and the Frankfurt strings section is tight, the soloist adopting different tone for bow vs. Along with the Nielsen Concerto, this is a highly successful performance, revealing many layers in the sophisticated string orchestration never heard before on record. Martin in the Fields and Sir Neville Marriner did just that, somehow failing to fulfill this piece’s full potential as a series composition. James Galway’s approach with the Academy of St. 1 for Flute and String Orchestra into a movie score, taking into consideration this composer’s huge success in the field. It’s very easy to make Malcolm Arnold’s Concerto No. Listen to this movement’s high point and try remaining indifferent (track 4, 4’04”). The strings give wonderful support, with a sound not dissimilar to period-instrument groups that choose to play 20th-century French repertoire on instruments from the period (Les Siècles comes to mind). The slow movement, however, is absolutely beautiful Andrara shows well-chosen use of vibrato in the upper registers and a sparse use in the lower ones.
Andrada takes on the extreme difficulties of the flue part in the outer movements impressively, and the orchestra certainly plays with fines, yet one wishes the ensemble would let go a little, losing their neckties if you will, as the Orquestra Sinfônica do Estado de São Paulo and John Neschling did for Sharon Bezaly (BIS). There are attractive rhythmic patterns and some lovely tunes, sometimes to the point of superficiality. Ibert’s Flute Concerto (1932-1933) is very typical to the composer’s output. This movement also contains lovely dialogues with Andrada’s fellow woodwind section members, most notably with the bassoon and the bass-trombone, so crucial to the orchestration of this piece. I also liked Andrada’s phrasing and tone coloring when the orchestra reaches dominant chords in the second movement, adding just the right amount of shading to the mix.
The orchestra’s presentation of the second subject and Andrada’s response thereof (1’30”) is all the more moving when not delved into, thus making beautiful what’s needn’t be beautified. What makes the version we have here impressive, is the assured drama and reserved approach which sits very comfortably with the piece. That being said, it’s well represented on record by best orchestras and flutists. Standing in the shadow of his late Clarinet Concerto and Violin Concerto, Nielsen’s Flute Concerto is a remarkable piece that should be performed more often.
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