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RECITAL REVIEW
January 27, 2003
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By John Demma Van Hagen
Two eminent musicians, flutist Emmanuel Pahud and pianist Hélène Grimaud, joined forces last Monday for a concert of flute and piano music at San Francisco's Herbst Theater. Although a majority of the works were transcriptions for flute and piano, the only true flute sonata shone through above all the rest.
The flute sonata of Francis Poulenc dates from 1957 and was premiered by Jean-Pierre Rampal in the same year. Poulenc wrote a trio of sonatas for woodwind instruments late in his life and all three reflect a culmination of craft and inspiration. In Pahud's more than capable hands, this work danced and swayed and shone in ways almost beyond belief.
Pahud employs a synthesis of technique, expression and musicality seemingly unmatched in the world of wind soloists today. All these elements were more than evident as he began the opening Allegro of the Poulenc, which concluded the recital. The opening sixteenth notes seemed to emerge out of sheer nothingness, as if he were reciting a poem learned early in childhood. As the opening movement progressed and Grimaud meandered gingerly as accompanist, Pahud's tone colors created an amazing sonic picture. His low notes seemed as big and as grandiose as timpani but he was able to achieve an intensity of sound even at a quiet dynamic level. There was not even an audible sign of articulation; Pahud was able to separate notes and phrases as if by second nature.
The doleful opening of the second-movement Cantilena was interspersed with small flashes of brilliance. But it was what Pahud did (or didn't do) with his tone that was most wondrous. Instead of slathering on his vibrato willy-nilly with a wide brush, he used it only to serve the musical line and expression. His vibrato seemed almost non-existent in sections, but the intensity of his tone still filled the hall. This was especially true on the final note, which just seemed to fade back into the ether from which it came. Pahud's dynamic range virtually defied the instrument's capabilities and his softness in this section only bolstered louder sections. More technical fireworks followed in the third movement, Presto giocoso, a jaunty, jovial romp recalling thematic ideas from previous movements. When the mournful cantilena theme arrived, albeit briefly, Pahud treated it with care and framed it with a brief silence, holding the audience in rapt attention. The Poulenc best displayed the culmination of Pahud's vast technical and musical capabilities. The concert began with a transcription of Robert Schumann‘s Sonata in A minor for violin and piano, opus 105. The Schumann seemed a bit out of place in this recital, the only piece that really besmirched the program. This was not due to any lack of technical proficiency from the artist, but to Schumann's dense writing. No matter how hard Grimaud tried, the piano seemed just a hair overpowering. This was rather due to the texture of the accompaniment than to an actual dynamic level, and is especially noticeable in contrast to the sparsely-noted piano line of the Poulenc. Pahud did an amazing job of really imitating the violin. Arpeggios, especially in the opening movement, were as even in volume as if they were played on a violin. In the final movement, Lebhaft, Pahud changed color and mood as easily as a violinist changes bows.
Following the Schumann, the simple two-movement Mozart Sonata in e minor, K. 304 was a fine vehicle to display Pahud's keen insight into the shape and direction of the lyrical line. This was especially evident in the concluding Minuetto, as its dynamics were inched down with consummate care. The Brahms Sonata for clarinet and piano, opus 120 #2 opened the second half of the concert. The opening Allegro amabile evoked a grand romantic landscape, full of grandeur and freedom. Brahms wrote sonatas for the darker instruments — violas, clarinets and such — passing over the lighter flute but Pahud showed that the flute can be a vehicle for such darker tones in the hands of a capable performer. Emmanuel Pahud has demonstrated once again his technical mastery of the flute, this time tackling repertoire not expressly written for the instrument. The hope is that he now moves to commission new works for the flute that can best demonstrate his technical process alongside his innate musicality.
(John Demma Van Hagen is a musician, teacher and music journalist and is currently the Music Department Librarian for San Francisco State University.)
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Emmanuel Pahud
Hélène Grimaud