Composer: Various
Works: From A to Z, Vol. 1
Performer: Sharon Bezaly (flute)
Recording: BIS CD-1159
Release Date: October 2001
Duration: 67:45
In the inaugural entry of her ambitious alphabetical exploration of solo flute repertoire, Sharon Bezaly presents a compelling selection of pieces ranging from the Baroque to contemporary compositions. This disc, aptly titled From A to Z, Vol. 1, serves as both a showcase for Bezaly’s prodigious technique and an invitation for listeners to engage with the diverse sound world of the flute.
The program opens with Kalevi Aho’s Solo III, a work steeped in the complexities of quarter-tone intervals that demands not only technical prowess but also interpretative depth. Aho’s assertion that Bezaly represents a “wonder” in her interpretation speaks to the intuitive connection she forges with the music. Her command over the instrument is evident in the fluidity with which she navigates the intricate passages, particularly in the second, more vigorous movement where she juxtaposes agility with lyrical phrasing, creating a striking contrast that encapsulates the essence of the piece.
Transitioning to the classical era, Bezaly performs Carl Philipp Emanuel Bach’s Sonata in A minor, W.132. Written during his tenure at the court of Frederick the Great, this work is a testament to the transition between the Baroque and Classical styles. Bezaly’s approach to the opening Poco adagio reveals a sensitivity to the sonorous qualities of the flute, with a beautifully shaped melodic line that resonates with emotional depth. Her articulation is crisp yet nuanced, allowing the subtle ornamentations to emerge and breathe within the context of the flowing phrases.
Malcolm Arnold’s Fantasy for Flute, Op. 89, while concise, offers a window into the composer’s keen understanding of the flute’s capabilities. The work’s brevity does not diminish its impact; rather, it showcases Bezaly’s ability to convey a multitude of emotions within a tight framework. The energy and rhythmic vitality she brings to the piece—especially in the playful interplay of contrasting dynamics—affirms Arnold’s mastery in capturing the instrument’s character.
The inclusion of Jurriaan Andriessen’s Pastorale d’été and Eugene Bozza’s Image pour flute seul serves as a delightful interlude, with both works offering lyrical simplicity that Bezaly interprets with grace. Particularly in Bozza’s piece, her use of vibrato and dynamic shading creates a resonant atmosphere that envelops the listener, demonstrating her keen interpretative choices that transcend mere technical execution.
Johann Sebastian Bach’s Partita in A Minor, BWV 1013, a cornerstone of the flute repertoire, is performed with an elegance that underscores Bezaly’s affinity for the Baroque idiom. The Sarabande is particularly noteworthy, as she cultivates a rich tapestry of sound, employing a thoughtfully controlled vibrato that enhances the emotional weight of the music. Bezaly’s phrasing is masterful, revealing the work’s structural integrity while breathing life into its melodic contours.
In stark contrast, Luciano Berio’s Sequenza I presents a modernist challenge that might alienate some listeners. The work is characterized by its fragmented structure and avant-garde techniques; however, Bezaly’s performance reveals an admirable commitment to exploring the sonic possibilities of the flute. While the piece may seem to some as a series of disjointed sounds, her meticulous attention to the nuances of timbre and articulation opens a dialogue with the listener, even if the musical coherence may elude those less attuned to Berio’s language.
The recording quality is superb, with BIS’s engineering capturing the clarity and warmth of Bezaly’s tone. The acoustic of Furuby Church, where the album was recorded, enhances the natural resonance of the flute, providing a fitting backdrop for this eclectic program. The sound engineering effectively balances the instrument’s rich overtones with the ambient space, allowing for an immersive listening experience.
In conclusion, From A to Z, Vol. 1 offers a well-curated exploration of solo flute literature, showcasing Sharon Bezaly’s remarkable artistry across a spectrum of styles and historical contexts. This collection is not only a testament to her technical prowess but also an insightful invitation for listeners to delve deeper into the flute’s repertoire. As Bezaly embarks on this alphabetical journey, one can eagerly anticipate how she will illuminate the remaining letters with the same skill and passion demonstrated in this compelling inaugural volume.
