This unusual programme is imaginative and satisfying. Bernstein fans will want it for Halil, currently absent from the catalogue, and though there are alternative versions of the other pieces this is the only one of Manin's Ballade as orchestrated by Ernest Ansermet. Here is a valuable juxtaposition of twentieth-century works written in four countries between 1926 and 1981, and Michael Faust, a splendid flautist and artist, has the range to illuminate them all.
The Martin is a coolly elegant piece that begins quietly but then has a good deal of animation although essentially non-tonal, it has a clear sense of direction and is distinctly harmonious. Indeed, after around 4'30'', we are re-introduced to Debussy's faune in an irresistibly slinky and sexy mood. The Danish peasant quirkiness of Nielsen's Concerto also comes across well, goat-footed Pan's flute now serving a northern wit and wildness. The writing for the timpani and trombone in the second movement gives the soloist's orchestral colleagues individuality in a way that was new in Nielsen's time but, thanks to him, is something of a feature in much of today's music. Indeed, this work has an oddly modern and faintly irresponsible feeling. Once again, a fine performance.
I like the Bernstein and Iben no less. The ancient Jewish halil was the equivalent of the Greek aulos—a reed instrument and not a flute although the Bible uses that word. No matter, Bernstein's threnody in memory of a young Israeli flautist killed in battle in 1973 is a fine piece and eloquently moving. Finally, Ibert's Concerto of 1934, along with Gallic wit, again evokes Arcadia although it is here (in LS's excellent translation of the German booklet essay) ''unreal as through a frosted-glass window''. A strong recommendation for this well-planned and deftly performed programme. '