Myriam Rignol - Flute Sonatas - COMPACT DISCS [CD]

This Vermeer album collects five compositions of five German artists; among them only Hans Werner Henze Sonatina and Paul Hindemith Sonata were enough played. Also an open mind and complete performer as Jean-Pierre Rampal never include them in his wide discography, but Fortner, Henze, Genzmer and Höller Sonatas deserve all our interest and curiosity beginning from Wolfang Fortner Sonata (1974) a musician very important during the second half of XX Century having also a leading role in famous Darmstad Ferienkurse and was the teacher of many German musicians. Not less important Harald Genzmer (1909 - 2007) that was Paul Hindemith student at Berlin Hochschule für Musik. The second Sonata for flute and orchestra was composed in 1952 and it can be seen a work of tonal substantial language and it is articulate in only three movimenti. Born in Bamberg in 1907 Karl Höller from 1933 taught at Munich Academy and from 1938 was at Frankfurt Hochschule für Musik and from 1949 to 1972 taught at Munich Conservatory; his wide production, in many ways inspired by Richard Strauss and Hans Pfiztner includes also two flute and piano Sonatas and the most famous of which is the second Sonata in C major op 55 composed in 1955 very poetic and delicate work that seems have a strong French music influence.

Johann Sebastian Bach's flute sonatas undoubtedly require congenial partners, who play together in an unpretentious, equally important way - in the truest sense of the word, in concert. This is brilliantly fulfilled by Lars Ulrik Mortensen with his hardly surpassable vocal playing on the harpsichord and Linde Brunmayr-Tutz with virtuosity and full sound on the transverse flute. On the 10th anniversary of Gustav Leonhardt's death, the album also contains a unique sound document it is the first recording of Gustav Leonhardt, Nikolaus Harnoncourt - both play viola da gamba here! - and also of Eduard Melkus. Under the direction of Josef Mertin, doyen of early music in Vienna, they recorded the 6th Brandenburg Concerto on original instruments for the first time in 1950.

There are moments on Drunk Tank Pink where you almosthave to reach for the sleeve to check this is the same bandwho made 2018's Songs Of Praise. Such is the jump Shamehave made from the riotous post-punk of their debut to thesprawling adventurism and twitching anxieties laid out here.The South Londoner's blood and guts spirit, that wink andgrin of devious charm, is still present, it's just that it's growninto something bigger, something deeper, more ambitious andunflinchingly honest. The genius of Drunk Tank Pink is how these lyrical themesdovetail with the music. Opener Alphabet dissects the premiseof performance over a siren call of nervous, jerking guitars, it'schorus thrown out like a beer bottle across a mosh pit.Songs spin off and lurch into unexpected directions throughouthere, be it March Day's escalating aural panic attack or theshapeshifting darkness of Snow Day. There's a Berlin era Bowiebeauty to the lovelorn Human For A Minute while closer StationWagon weaves from a downbeat mooch into a souring, soullifting climax in which Steen elevates himself beyond the cloudsand into the heavens. Or at least that's what it sounds like. From the womb to the clouds (sort of), Shame are currentlyvery much in the pink.