It's not British, but...20th Century Middle European Flute Music

This CD features diverse works by four “Middle-European” composers. This can be loosely defined as countries to the west of Russia and to the east of France. The disc includes music by an Austrian of Czech origin, a Czech, a German, and an Austrian. Each of these men share a personal history that is “marked by persecution and emigration.” One, Emil František Burian was a prisoner in three concentration camps.

Born in Vienna on 23 August 1900, Ernst Krenek moved to the United States in 1938 to escape Nazi persecution. There he taught in several universities. Stylistically, he is hard to pin down: at one time or another, he adopted atonality, serialism, neo-classicism, jazz, and electronics. His later music tended to be more accessible.  

The Suite for flute and piano dates from 1954. Composed in a neo-classical style, it does have a few atonal moments. It makes an attractive introduction to Krenek’s music. Despite being recorded here as a single track, it has four movements: Andante, Allegretto moderato, Andante con moto and Allegro vivace. It was premiered in Santiago, Chile on 5 July 1956. Krenek later arranged it for flute and string orchestra.

Emil František Burian is a new name to me. He was a bit of a polymath. Born in Plzeň in the Czech Republic during 1904, he became actively involved in music, poetry, film making, and the theatre. He was also a journalist, a political activist in the Czech Communist Party and, latterly, a parliamentarian. Burian was interned by the Germans between 1941 and 1945, but survived Theresienstadt, Dachau and Neuengamme.  The present Ztracené Serenády (Lost Serenades) was completed in 1940. It is easy going and presents no problems for the listener. Once again, it is devised in four movements: Cantabile, Na jednu, volně a zpěvně, velmi zpěvně. The last three titles do not translate into idiomatic English - at least on Google! The present recording of this charming Serenade is a World Premiere. I will look out for other compositions by Emil František Burian.

Guernica will ever be remembered for one of the worst atrocities committed during the Spanish Civil War (1936-39). The German Condor Legion and the Italian Aviazione Legionaria blitzed this defenceless northern Spanish town in support of General Franco’s Nationalists. There were many deaths and injuries. Pablo Picasso was moved to paint his eponymous anti-war masterpiece in 1937.

Hamburg-born composer and conductor Paul Dessau (1894-1979) suffered from persecution by the Nazis. In 1933 he fled Germany, taking refuge first in Paris, then in the United States. After the cessation of hostilities, he eventually returned to East Berlin. His piano solo, Guernica, was produced in 1938. At the time he was living in Paris, so it is possible that he may have seen Picasso’s painting. This piano piece has all the hallmarks of 12-tone music. Yet, there is nothing overtly challenging here. Dessau uses the technique with flexibility, resulting in some lyrical passages as well as harder edged moments.

The major event on this CD is Felix Greissle’s transcription of Arnold Schoenberg’s Wind Quintet, op.26. It has been renamed “Sonate” for flute and piano. At the time, Greissle was a student living at Schoenberg’s house: he would eventually marry his eldest daughter, Trudi.

To be sure, the Quintet is one of “the most abstract, most brittle” of Schoenberg’s compositions. Its long duration of three quarters of an hour, make it quite a trial. Yet, historically, it is deemed to be a “classical work of the twelve-note-technique.”

The Quintet was written between 1923-1924. It is in four movements (Allegro, Scherzo, Adagio and Rondo). Despite the use of serialism, there is a profound continuum between classical sonata form and modernism.

When Felix Greissle came to transcribe the Quintet, Schoenberg was adamant that no note of the original should be lost. To this end, every note not played by the flute was to be included in the piano part. I have not seen the score of the Sonate, but it must make it difficult for the pianist. One way or another, Greissle has managed to syntheses all five wind parts for the solo flute.

The opening movement presents themes, developments, recapitulations and even a coda. It may not seem obvious to the listener, though. Equally traditional, at least formally, is the quicksilver Scherzo. It may just be that it outstays its welcome. The heart of the Quintet is the Adagio, which is in “ternary form.” The concluding Rondo is the most congenial part of the work.

As part of my preparation for this review, I listened to the “original” Wind Quintet. Although it is difficult, I did begin to enjoy it. Certainly, I feel that the Sonate version is more approachable, and would serve as a worthy introduction for the stronger meat of the Quintet.

The Duo, featuring Luisa Sello (flute) and Bruno Canino (piano) give commanding performances of these four works, abetted by an excellent recording.

The liner notes by Danilo Prefumo give a good outline of the music and its context. They are a little too long-winded on the definition of “Middle-European” for the interests of most listeners. Suffice to say the former Austro-Hungarian Empire and Germany is a good approximation as a locus. The booklet is printed in Italian and English.

This is a fascinating CD, featuring four composers who are quite different in character but are united in their response to political extremism.

Track Listing:
Ernst Heinrich Krenek (1900-91)
Suite for flute and piano (1954)
Emil František Burian (1904-59)
Ztracené Serenády for flute and piano (1940)
Paul Dessau (1894-1979)
Guernica for piano (1938)
Arnold Schoenberg (1874-1951)
“Sonate” for flute and piano (1923-24/1926) arr. Felix Greissle (1894-1982)
Luisa Sello (flute), Bruno Canino (piano)
rec. 3-4 February 2023, Black Mirror Studios, Udine, Italy
Dynamic CDS7995