My Magic Flute

Konzert für Flöte und Harfe
Concerto for Flute and Harp KV 299

A collection of favorite arias,
sonatas, and concerto movements,
all arranged for flute
Jeanne Galway
Catrin Finch
Sinfonia Varsovia
Int. Release 11 Sep. 2006
0289 477 6233 1
CD DDD 0289 477 6233 1 GH

Liste de titres

Wolfgang Amadeus Mozart (1756 - 1791)
Concerto for Flute, Harp, and Orchestra in C Major, K. 299

Piano Concerto No. 21 in C Major, K. 467

Piano Sonata No. 11 in A Major, K. 331

James Galway, Catrin Finch, Sinfonia Varsovia

Zaide, K. 344

James Galway, Sinfonia Varsovia

The Magic Flutes



Piano Sonata No. 11 in A Major, K. 331

James Galway, Lady Jeanne Galway, Sinfonia Varsovia

Durée totale de lecture 1:13:34

. . . a vibrant performance of the Flute and Harp Concerto with Catrin Finch.

. . . without doubt the most famous flautist . . . this is a disc that should attract many music-lovers.

Aficionados of the James Galway sound will no doubt be delighted with this anthology of Mozartiana . . . Galway plays with characteristic grace . . . he shows a keen engagement with this varied repertoire. The sound is clear . . .

Sir James Galway devotes his talents to the aptly titled "My Magic Flute". He conducts crisp performances from Sinfonia Varsovia . . . Andreas Tarkmann's sympathetic arrangement of the Andante from Piano Concerto No 21 is lovely but the most prominent part of the recording is a medley conveniently entitled "The Magic Flutes" . . . the results are witty, pretty . . .

. . . eine höchst anregende Begegnung mit der hohen Kunst des Flöten- und Harfenspiels und den eher galanten Seiten von Mozarts musikalischem Kosmos. Ohne Einschränkung überzeugt die Adaption des durch den schwedischen Film "Elvira Madigan" von 1967 populär gewordenen Andante aus der Sonate KV 467. Das kantable, flötengerechte Stück erhält durch die Korrespondenzen des Soloinstrumentes mit den Orchesterbläsern eine strukturelle Dimension mehr als das Klavieroriginal, und auch die Registerwechsel ¿ von den dunkeln und fülligen Tiefen zu glockenhellen Höhen ¿ bringen eine weitere faszinierende Dimension in das Stück . . .

. . . la plus belle sonorité de flûte du monde depuis quatre décennies. Avec ces confiseries mozartiennes, assortiment de bis ordonnées autour du Concerto pour flûte et harpe, le maître se fiat plaisir et nous invite à partager sa délectation ludique . . . L'aria extraite de "Zaide" et transcrite par Matthias Spindler, mieux encore, la mélodie y régnant sans partage. Les mozartiens érudits s'amuseront à retrouver dans la mosaïque concoctée par David Overton les citations cachées parmi les extraits de "Zauberflöte", "Don Giovanni" ou "Così", come on chercherait des ¿ufs de Pâques dans un jardin enchanté. Le dieu de la flûte et sa délicieuse jeune femme, flûtiste elle aussi, y batifolent en état de grâce. Enfin, la "Marche turque" acquiert sus leurs lèvres complices une suavité primesautière que le crincrin de l'orchestre vient à peine gâter. Joyeux anniversaire Wolfgang!
Sir James Galway's Mozart

    Mozart once called the flute “an instrument that I can't stand". Nonetheless, the music Mozart created for it is beautiful, idiomatic and close to Sir James Galway's heart. Since childhood Mozart has been his constant companion: “I had a 78rpm record of John Amadio playing the Rondo from the Flute Concerto K. 313. Amadio became my role model. I still play the concerto today of course. Each time you play a piece by Mozart, you discover something new."

    Not all the music included here was written for the flute. The second movement of Mozart's Piano Concerto no. 21 is heard in Andreas Tarkmann's arrangement, of which Sir James says: “If you take your time the way a singer would, you can get a singing quality in the flute." The flute gets another chance to “sing" in the arrangement of “Ruhe sanft", a lullaby-aria from Mozart's opera Zaïde. Tarkmann has also arranged the Andante from the Piano Sonata K. 331. Here the solo part is shared between Sir James and the superb young Welsh harpist Catrin Finch, whose playing impressed him the very first time he performed with her.

    The harp is another instrument towards which Mozart is supposed to have felt an antipathy, but he wrote one of his best-loved works for it; the Flute and Harp Concerto. In Sir James's words: “This is a great Mozart piece: he had all the burners going when he wrote it."

    The remaining tracks find Sir James in the company of his wife Lady Jeanne, a teaming that has delighted flute-lovers all over the world, playing pieces arranged by a regular collaborator, David Overton, who wrote Jeanne's Song for them. Of his transcription of the exuberant “Turkish Rondo" from the Piano Sonata K. 331, Sir James says: “I can't believe how well it goes on the flute. Jeanne and I often play it as an encore, throwing the themes at each other in a kind of stereo effect."

Something quite special in this collection is The Magic Flutes, a tour de force flute medley of dozens of Mozart fragments. Overton himself describes it as “a journey through Mozart". For Sir James, it's “a trainspotter's guide to Mozart: you have to try to identify as many of the sources as you can. Sometimes I think Mozart wrote the music of mankind's collective unconscious. It's as if this music was always there, just waiting for Mozart to put it into sound."

Excerpts from the booklet text by Nick Kimberley