 |
| Emmanuel Pahud |
| A |
| Wiener Zeitung, 15.1.2009 | Gerhard Kramer [...] mit dem goldglänzenden, in allen Lagen gleich substanzreich strahlenden Klang von Pahuds Flöte.[...] Im Übrigen erwies sich die technische Brillanz, die unangreifbare Perfektion von Pahuds Spiel auch diesmal über jedes Lob erhaben. Frankfurter Allgemeine Zeitung, 23.9.2008 | Benedikt Stegemann Emmanuel Pahud glänzte als virtuoser Magier eines üppig aufgefächerten Klangfarbenspektrums, entlockte seiner Querflöte den luxoriösen Farbenreichtum eines Paradiesvogels. Der entsprechend gefeierte Solist wurde erst nach der Zugabe der „Syrinx“ von Claude Debussy von der Bühne entlassen. Wiesbadener Tagblatt, 19.9.2008 | Axel Zibulski Emmanuel Pahud […] konnte sich als einfühlsamer Virtuose präsentieren, gewiss kantig und schroff im Dialog mit der kleinen Schlagwerks-Gruppe, aber eben auch angenehm kantabel über jenem Streicherteppich spielend, der das Werk leise ausklingen lässt. DrehpunktKultur, 25.8.2008 | Oliver Schneider Förmlich betörend der Klang seiner Flöte […]. wiwo.de, 16.1.2007 | Dieter Schnaas Nielsen-Newcomer ankern am besten im sicheren Hafen der Berliner Philharmoniker: Die bei EMI erschienene Aufnahme vereint mit dem Flötenkonzert, dem Klarinettenkonzert und dem Bläserquintett drei herausragende Kompositionen, präsentiert von Simon Rattle und seinen Musikern in makelloser Qualität. Das Flötenkonzert ist fast kammermusikalisch angelegt, es gibt viele Dialoge zwischen Solist und Orchester, besonders beeindruckend sind die Neckereien, die sich die Flöte mit der Bassposaune und der Klarinette liefert. Im Klarinettenkonzert wiederum führt Nielsen ein helles Trömmelchen aufs Parkett – und fordert die beiden zu einem Katz-und-Maus-Spiel auf. Beide Konzerte verlangen dem Solisten höchsten Einsatz ab – Emmanuel Pahud (Flöte) und Sabine Meyer (Klarinette) sind über jeden Zweifel erhaben. Khachaturian (arr. Rampal) and Ibert Flute Concertos with Zurich Tonhalle (EMI 5 57563 2) |
| “Better still is the slow movement [Khachaturian], where Pahud’sexquisitely hushed playing finds a mystery and tenderness in the hypnotic, Satie-like melody….[In the Ibert concerto] what sets Pahud’s performance apart is the depth of feeling he conveys in the slow movement; poignantly mysterious, with breathtaking pianissimi matched by the strings of the Tonhalle Orchestra under David Zinman.” Edward Greenfield, Gramophone, November 2003 |
| Khachaturian (arr. Rampal) and Ibert Flute Concertos with Zurich Tonhalle (EMI 5 57563 2) |
| “[Khachaturian concerto] It was worth the wait…He plays with an obvious relish for the freeflowing flurry of sparkling, tune-filled ideas. In both the Ibert concerto and miniature Pièce for solo flute, he is less showy, more focused, negotiating the deceptive melodic simplicity and feisty flashes of Gallic wit with a nimble and winning dexterity. Try the sunny tranquility of the beautiful slow middle movement for Pahud at his best.” Oliver Condy, Classic FM, October 2003 |
| Khachaturian (arr. Rampal) and Ibert Flute Concertos with Zurich Tonhalle (EMI 5 57563 2) |
| “[In the Khachaturian] Pahud’s pace gives the piece a dramatic grandeur; the power of his lower register ensures he’s never drowned out (not so most other flautists, even with the best sound engineer in tow)….a chamber like intimacy to the Andante’s Armenian chromaticisms as well as a sense of entertainment to the melody-filled final Allegro…for his sheer mastery of his instrument – his cadenza reigns supreme; his top notes never buzz – but also because his performance of Ibert’s Flute Concerto is in another league, revealing a charismatic artist whose exuberance intensifies rather than stultifies the Concerto’s wide ranging subtleties.” Kate Sherriff. BBC Music Magazine, November 2003 |
| Telemann CD with the Berlin Baroque Soloists (EMI Classics 557397-2) |
| “You will rarely hear such personality in a Baroque concerto soloist as the extraordinary Emmanuel Pahud exhibits here… it is his sensitivity to Telemann’s gestural implications and ability to colour the music at every turn which makes Pahud’s playing so enchanting in all five concertos… The Flute Concerto in D confirms everything about Pahud’s exquisite taste and mesmerising sound. A real winner.” Jonathan Freeman-Attwood, Gramophone Magazine, December 2002 “Emmanuel Pahud and the Berliner Barock Solisten have Telemann’s concerti quite perfectly sussed… fluid, gracious, almost vocal decorations and nuances set against the compelling sweep of the ensemble’s long, clear phrases.” Anna Picard, The Independent, 10 November 2002 |
| Bach CD with the Berlin Baroque Soloists (EMI Classics 7243 5 57111 2) |
| “Pahud is an artist’s artist: stylish and occasionally flashy in his interpretations but never allowing the predominance of virtuosity at the expense of rock-solid musical judgement. His tone is wonderfully fluent and fluid, not to mention adaptable to the mood of the moment.” Robert Emmett, Fanfare, September/October 2001 “This CD’s real prize is the unaccompanied Partita in A minor (BWV 1013). Here, one can appreciate fully the flutist’s virtues: musical grace, technical assurance and, most striking of all, a tone at once plangent and warm.” David Mermelstein, The New York Times, 13 May 2001“Emmanuel Pahud’s purity of sound and freedom of musical line make him a natural for the Baroque repertoire.” Ken Smith, The Newark Star-Ledger, 10 April 2001 “Altogether these are stylish performances, with excellent choices of tempo, awareness of the character of the dances in the Suite and the Partita, buoyant rhythms and beautiful shaping of phrases… very fine Bach playing, to be wholeheartedly recommended.” Gramophone Magazine, March 2001 |
| Recital CD with Stephen Kovacewich and Katarina Karn�us (EMI 5 56982 2) |
| “Despite the distinguished contributions of singer, cellist and pianist, this disc quite rightly focuses on the extraordinary flute-playing of Emmanuel Pahud… Pahud’s range of tone color is amazing – no one listening to the Prokofiev Sonata is likely to feel short-changed by not hearing it in its familiar violin transcription… in Aoua!, the central movement of Ravels’ Chansons Mad�casses, Pahud gets closer than most flautists to playing, as the composer directs, ‘like a trumpet’. His dynamic range is still mor startling, but there is never any sense of him extending the instrument beyond its nature… Pahud gives [the Prokofiev Sonata] a big, bold and vivid reading, but with nothing overstated in the lyrical dialogues of the opening movement or the warmly expressive Andante.” Michael Oliver, Gramophone, May 2000 “Flautist Emmanuel Pahud has the seductive tone to inspire other world class musicians to ecstasy… This is an adventurous compilation of pieces, the common link being the superb flautist Emmanuel Pahud. Whether playing solo or in tandem (…) Pahud’s awesome technique is made the more attractive for its unique style of dress chosen, as it is, from a musical palette resplendent in a vast range of colours, tectures and tints… With exemplary sound, this production comes with the highest recommendation.” Barbara Hammond, Classic CD, June 2000 |
| Mozart Flute Quartets CD (EMI 5 56829 2) |
| “This new release of Mozart Flute Quartets is a delight.” Classic FM Magazine, October/November 1999 “…the playing is so elegant and fresh it seems to raise the music to a higher level. A remedial disc. And very easy on the ear.” Michael White, The Independent, 6 February 2000 “…it would be hard to imagine a finer performance of these works, the flautist Emmanuel Pahud producing a warm yet clear tone, in a highly musical interpretation.” Joanne Talbot, Classic CD, December 1999 “Leading flutist Emmanuel Pahud proves a seductive advocate of Mozart’s Flute Quartets… Surpassing any previous recordings of the quartets… these interpretations possess real joie de vivre.” Kate Sheriff, BBC Music Magazine, December 1999 “… Pahud finds a mystery and subtlety of dynamic shading that outshine any rival.” Grammophone, November 1999 “This is a disc of youthful high spirits, charming and witty, with Pahud lighter and fresher than such rivals as James Galway… in the B minor adagio of the Quartet K285, Pahud finds new mystery through his subtle phrasing… this signals the arrival of a new master flautist.” The Guardian, 8 October 1999 |
