Khachaturian, Aram. Flute Concerto (Violin Concerto transcribed by Jean-Pierre Rampal). (, transcr. ). transcribed for flute and orchestra. Duration: 35′. Khachaturian, Aram: Flute Concerto (Violin Concerto transcribed by Jean-Pierre Rampal) (, transcr. ) 35′. transcribed for flute and orchestra. Khachaturian composed concertos for piano, for violin and for cello, but none for the flute; the work performed in the present concerts is a transcription of his.

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Rampal left the orchestral material virtually untouched, but in addition to transcribing the solo part for the flute he composed a new and of course idiomatic cadenza for the first movement. Rampal completed his transcription in Octoberjust in time for the Toledo premiere early the following month, and the composer subsequently expressed his wholehearted approval.

From Wikipedia, the free encyclopedia. This page was last edited on 19 Decemberat Concerto for Flute and Orchestra. Having said that, one has to praise Pahud for giving us an alternative, not an echo.

The accompaniments have plenty of personality. Gramophone’s expert reviews easier than ever before.

James Galway in his RCA version brings out a jaunty penny-whistle quality, where Pahud relates this movement more clearly to the rest of the concerto. Apart from that, the engineering is excellent. It was composed for David Oistrakh and premiered on September 16, by Oistrakh. Learn how cobcerto when to remove these template messages. The soloist chirps, swoops, and soars.

All kidding aside, here’s another fine CD from a flutist who has given us superlative recordings of concedto from the Baroque and Classical eras. Refinement replaces folkish freedom.

Aram Khachaturian – Flute Concerto (Violin Concerto transcribed by Jean-Pierre Rampal)

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In addition to the solo flute, the score calls for 2 flutes, 2 oboes, English horn, 2 clarinets, 2 bassoons, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, snare drum, bass drum, cymbals, harp, and strings.

Rampal’s version of the Khachaturian Concerto, with the composer’s imprimatur, has by now established itself in the repertory of grateful flutists everywhere. This is unmistakably a work written for khachaaturian flute, and unimaginable on any other instrument. Rampal had asked Khachaturian for an original work, and after decades of nothing to show for his request, Rampal finally took matters into his own hands.


A soft-grained flute could hardly cut through orchestral textures in the concert-hall in the way a violin can, but on disc careful balancing without focusing on the solo instrument too aggressively has produced a successful result. The second theme, in sharp contrast, is sinuous and seductive, and a third one is more or less in the same vein.

Classical Net Review – Ibert/Khachaturian – Flute Concertos

Views Read Edit View history. The Violin Concerto is especially close to the music of Gayaneh in this respect, and it is especially interesting to note that it was preceded, inby another ballet, called Happniessin which Khachaturian was to borrow abundantly in creating the score for Gayaneh ; the Concerto, then, may be regarded as the midpoint in a continuous cycle of music built on similar–and occasionally directly related–materials.

In or aboutby which time he had established himself as the pre-eminent flutist of his time, Rampal asked Khachaturian to compose a concerto for him, but the composer never got round do it, and eventually he suggested that Rampal make his own khachayurian of the famous Violin Concerto, a work originally composed and ohachaturian in Violin concertos compositions Concerto stubs.

Flute Concerto Jacques Ibert: Unsourced material may be challenged and removed. This article needs additional or more specific categories. This article has multiple issues. One way of interpreting it is for the flute to mimic the violin; Rampal, to a certain degree, did that when he played and recorded this work.

Ibert; Khachaturian Flute Concertos

The first movement Allegro con fermezza opens with a brief and exuberant orchestral introduction, following which the flute begins spinning out the theme, more striking perhaps for its rhythmic accents than as melody per se.

In its original version, this concerto sometimes seems a little coarse and obvious, but in Pahud’s hands, that accusation can’t be made. The recapitulation, containing nostalgic reminiscences of the second and third themes, leads to a brilliant coda. The music is all charm and very little muscle. The long, slow middle section in the finale, too, has a slinky quality, as in a valse grise.


All but the second of these four works are steeped in the flavor of Armenian folk-music, as exemplified in the instrumental coloring as well as the exotic-sounding themes and the contrasting vigorous and languorous rhythms. The form is a free-flowing rondo, with an unexpectedly impassioned middle section breaking the deep calm and returning even more forcefully before the movement ends. The opening of this finale, grander than the passage that began the work, suggests a grand ballet divertissement, and much of the soloist’s energetic material has an ingratiatingly improvisatory feel to it.

If you are a library, university or other organisation that would be interested in an institutional subscription to Gramophone please click here for further information. As a result, Pahud’s interpretation seems a little reticent beside Rampal’s. The coda brings a reprise of the Concerto’s opening as well as the opening of the finale, and the end, following a shower of sparks from the flute, is grandly assertive.

The engineer could have warmed up the sound a little. If notability cannot be established, the article is likely to be mergedredirectedor deleted. James Galway has not only made his own transcription of the Khachaturian Violin Concerto, but has similarly transcribed Samuel Barber’s Violin Concerto. Ibert; Fljte Flute Concertos Some dazzling playing by a top-flight flautist makes this an ear-tickling disc View record and artist details Record and Artist Khachaturuan.

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By using this site, you agree to the Terms of Use and Privacy Policy. Recollections of the first movement’s second theme are heard in the solo material about halfway through, and return in the cellos when the flute resumes the finale’s own theme. Pahud also plays foncerto a little coolly compared to famous predecessors — it’s more redolent of ancient Greece than of the French countryside.