Composer: Charles T Griffes, Walter Piston, Hamilton Harty, Ian Wilson, Peter Fribbins, Robert Beaser, Lukas Foss, Cyril Scott
Works: Poem (arr. George Barrere), Flute Sonata, In Ireland, Spilliaert’s Beach, Porphyria’s Lover, Minimal Waltz, Three American Pieces (Early Song, Dedication, Composer’s Holiday), Lotus Land (arr. Arthur Ephross)
Performers: Nancy Ruffer (flute), Helen Crayford (piano)
Recording: Vestry Studios, London, February 2001
Label: Guild GMCD 7230
The recording “Fantasies American Dreams” presents a compelling journey through the 20th-century American and British flute repertoire, showcasing both the eclecticism of the works and the artistry of flautist Nancy Ruffer and pianist Helen Crayford. The choice of repertoire, beginning with Charles T Griffes’ “Poem” and concluding with Cyril Scott’s “Lotus Land,” reflects a thoughtful arc that captures the essence of the composers’ unique voices while simultaneously highlighting the historical cross-pollination of British and American musical traditions.
Ruffer and Crayford’s interpretation of Griffes’ “Poem,” one of his last compositions from 1919, is particularly noteworthy. The arrangement for flute and piano, while less common than its orchestral counterpart, retains the enchanting quality of the original. Ruffer’s lyrical phrasing and expressive dynamics evoke the Debussian influences that permeate the work, rendering it both poignant and accessible. The fluidity of her tone and the delicate interplay with Crayford’s piano create a rich tapestry of sound that draws the listener into its emotional depths.
Walter Piston’s Flute Sonata, composed in 1930, showcases a more modernist aesthetic, characterized by its rhythmic vitality and contrapuntal intricacies. Ruffer and Crayford navigate the sonata’s three movements with technical precision and an innate sense of musicality. The first movement’s triple meter pulsates with energy, while the second movement’s contrapuntal lines reveal the duo’s ability to maintain clarity even in complex passages. The finale, infused with Piston’s signature lyricism, demonstrates a seamless blend of sophistication and charm, marking this performance as one of the highlights of the recording.
Hamilton Harty’s “In Ireland” serves as a delightful interlude, a six-minute medley of traditional airs that showcases the duo’s ability to embody the playfulness and warmth of the music. The piano’s harp-like imitations enrich the texture, creating a pastoral soundscape that captures the essence of its Irish roots. The performance is vibrant and engaging, inviting the listener to revel in its delightful simplicity.
The contemporary works by Ian Wilson and Peter Fribbins introduce a stark contrast to the earlier pieces, showcasing the evolution of flute music in a modern context. Wilson’s “Spilliaert’s Beach,” inspired by the Belgian painter Léon Spilliaert, employs a minimalist approach that effectively reflects the painting’s atmospheric qualities. Ruffer’s choice of alto flute enhances the work’s introspective nature, utilizing a descending theme that elicits a sense of stillness and contemplation.
Fribbins’ “Porphyria’s Lover,” based on the Browning poem, is a substantial work that challenges the performers with its varied emotional landscapes. The piece artfully juxtaposes energetic motifs with reflective passages, requiring both stamina and sensitivity from the musicians. Ruffer and Crayford rise to the occasion, delivering a performance that captures the work’s inherent tension and lyrical beauty.
Robert Beaser’s “Minimal Waltz,” a brief yet captivating composition, serves as a charming interlude within the program. Its insistent motif leaves a memorable impression despite its brevity, showcasing the duo’s knack for making even the briefest of pieces resonate. Lukas Foss’s “Three American Pieces” further enriches the recording, offering a delightful blend of neoclassical charm and Americana. The second piece, “Dedication,” particularly stands out for its languorous beauty, while the concluding “Composer’s Holiday” bursts forth with exuberance, embodying a quintessentially American spirit.
Cyril Scott’s “Lotus Land,” arranged for flute and piano, concludes the recital with a lush, almost dreamlike quality that encapsulates the essence of the program. The arrangement allows Ruffer and Crayford to explore the piece’s harmonic richness, resulting in a performance that is both serene and evocative, leaving a lasting impression of tranquility.
The recording quality is commendable, capturing the nuances of both instruments with clarity and warmth. The engineering at Vestry Studios ensures that every phrase and dynamic contrast is palpable, allowing the subtleties of the performance to shine. This collection not only serves as an excellent introduction to a diverse array of compositions but also stands as a testament to the artistry of Ruffer and Crayford, who bring each work to life with a remarkable blend of technical prowess and interpretative insight.
This recording of “Fantasies American Dreams” is a valuable addition to the flute repertoire, offering listeners a well-curated selection that marries historical depth with contemporary relevance. Ruffer and Crayford’s artistry invites deep listening, revealing the intricate layers woven through each composition, making this disc a rewarding experience for both casual listeners and dedicated aficionados of classical music.
