This is an odd record. Five flute concertos in which the virtuoso flautist, Jean-Pierre Rampal performs as conductor whilst the solo flute is played by Andrea Griminelli an artist about whom I had known nothing before hearing this release. In Rampal's own words ''he is a magnificent performer and an artist of the highest calibre'' but, while I would not necessarily disagree with that, I am not sure that there is anything here that outshines much other flute playing that I have heard in this repertory. The two most substantial works are the Concertos in D major and E minor by the prolific early to mid nineteenth-century Italian composer, Mercadante. Primarily an opera composer, Mercadante nevertheless found time to compose sacred vocal music, cantatas, sinfonias and concertos, six of which are for flute and orchestra. If the two included here are anything to go by Mercadante was a skilful if light-weight composer with a pleasing turn of musical phrase which is often lyrical, sometimes leaning towards the salon. Griminelli plays the music with panache and a light, clear, sibilant tone. He does not possess the beautifully rounded and warm tone which characterized Rampal's playing in the 1950s and 1960s but his technique and expressive range are of a comparable level. Vibrato is well under control, intonation is faultless and his rhythmic sense is strong.
All these virtues, however, are not enough in themselves to make the most of the three concertos by Vivaldi. Each of them has a modestly programmatic element, impressionistic rather than detailed and Griminelli, well supported by the string section of the English Chamber Orchestra under Rampal's direction, brings colour and animation to the performances; but I found the orchestral forces too large both for the soloist and, above all, for the music. Intimacy, graceful charm and, alas some of the magic too, have been sacrificed or, at least, compromised in the interests of impact and showmanship. This is less of a problem in passages where one or more instruments accompanies the soloist than in tuttis, which tend to be bottom-heavy and too full-bodied to complement the lighter textures which intervene. This is, after all, chamber music requiring some lighter gestures and greater linear transparency.
To sum up, a mixed success. The Mercadante could hardly have been placed in better hands but Rampal would have been wiser to scale down the forces which he uses in the Vivaldi works. There is not a doubt in my mind that Griminelli would have responded with greater subtlety had he been placed within a smaller ensemble; even so, his flute playing will delight many though baroque music enthusiasts will find something lacking, I'm afraid. The disc is well recorded in a pleasantly resonant acoustic.'