CD Review: Romanian Flute Music (Krzysztof Kaczka, flute; Lilian Akopova, piano) Hanssler Classic HC21060

There are significant examples of compositions for the flute being written by Romanian composers. Years ago, I reviewed two CDs from the flautist Zdenek Bruderhans featuring solo music and a concerto by Anatol Vieru. There have also been notable releases of flute music by Doina Rotaru, who has written prolifically for the instrument. Artists such as Pierre-Yves Artaud and Mario Caroli have performed some of her five concertos (the fifth also employs an orchestra of instruments from the flute family), various solo and chamber music compositions on commercial and privately-made recordings.

This latest release from the Polish flautist Krzysztof Kaczka and Ukrainian pianist Lilian Akopova presents an overview survey of writing for the duo that is either influenced by Romanian musical forms or written by Romanian composers, several of whom are likely to be unknown to a wider audience. 

Let’s start with the two works I consider outliers to the main programme. Béla Bartók’s suite of six brief Romanian Folk Dances is music that has been arranged for many different instrumental combinations, and there is no reason why it should not work well for the flute/piano duo. The recording it is given here is bright and replete with rustic character.

George Enescu’s early first violin sonata, written within a week in 1897 when he was 16, is a work that belies the influences of Beethoven and Brahms whilst also showing a deep knowledge of fugal writing in the last two movements. As it is by far the most straight-forwardly written of Enescu’s three violin sonatas, the solo line transcribes reasonably well to the flute. Kaczka and Akopova give it a committed performance; indeed, perhaps due to the re-instrumentation I listened to the work afresh and enjoyed the rich veins of melody that are explored within it. If there’s something that occasionally I felt was missing, it is the variations of tone and intonation, which so carefully marked by Enescu in the score. These are, of course, easier to achieve on the violin than the flute, but Kaczka tries to find an equivalence to this through variations of breath and attack.

On to the works written for the flute/piano duo. Enescu’s Cantabile et Presto, written in 1904, as a flute competition piece for the Paris Conservatoire is atmospherically performed. Indeed, there is a good sense of the relationship between the parts captured in the performance, with, as elsewhere, the flute slightly forward of the piano in a natural acoustic.

Petre Elinescu (1869-1947) was a flautist as well as a prolific composer. His Pastoral Scene of Romania is a connected group of five contrasting dances. Based on the original version for small string ensemble, the version for flute and piano was written in 1898. Elinescu’s writing is tunefully sonorous, wholly tonal and melodic. It could almost be a companion work to Béla Bartók’s Romanian Folk Dances. The piano part at times wilfully echoes the sound of a cimbolom. Elinescu is also represented by his Introduction et Danse des Sorcières, written in 1902. The Introduction possesses a certain languidity, whilst the Danse not only picks up the tempo but beguiles with its flights of fancy.

The modern school of Romanian flute writing is represented by Vasile Jianu (1904-1968). His Prelude and Rigaudon sees a certain rusticity of expression followed by an updated take on a seventeen century dance form. This unique conception is easily and engagingly realised in the recording. Doina Rotaru’s Elegie for Flute and Piano, from 2011, takes me almost to where I began this review. This is by far the most complex and challenging work on the recording from a technical viewpoint, as Rotaru habitually merges old musical forms through modern techniques. When I met and interviewed her in 2010, she talked at length about how this could stretch a performer’s musicianship and knowledge of self, whilst testing technical ability. This comes across as being one of the most compelling performances on the recording.

Lilian Akopova’s piano playing is first rate; I certainly hope to encounter her on disc again before long. The recording quality is faithful and resonant. The accompanying booklet notes are succinct, but more detail could well be helpful to prospective purchasers.
Whilst of niche interest perhaps, to either flautists, lovers of flute music or those wanting to explore lesser-heard composers, this disc can be recommended. There is other repertoire that might have been included, such as Marcel Milhalovici’s Miroir des Songes, Op.112, Myriam Marbe's Haykus (1994) or Rotaru's Crystals. 

One point to note, my review download lacked both the last movement of Bartók’s Romanian Folk Dances and the Presto from Enescu’s Cantabile et Presto. Perhaps an oversight, but it is a shame nevertheless.