Aperitif

Apéritif! If there is anyone who has not already heard Sharon Bezaly on one of her (numerous) BIS recordings - well, look forward to a treat. Those of us already familiar with her astonishing musical abilities are already looking forward to something special. Critics may complain that there are relatively few real masterpieces written for the flute. On the other hand, there is surely no other instrument - excepting the piano - that has attracted such a vast repertoire of uniquely characterful pieces. The woodwind instruments underwent very rapid development during the 19th century; none more so than the flute. As the instrument increased in fluency, extended its compass and broadened its sonic palette it seems as though every self-respecting composer was just waiting to compose something for it: whether a firework display of technical virtuosity or a schmaltzy lollipop or, more usually, an irresistible combination of the two. In Paris during the 19th century there must have been at least one composer in every quartier eager to exploit the new possibilities of the 'improved' flute. For though the mechanical improvements to the flute were mostly German in origin, it was in France that the flute virtuoso really came into his own. Accordingly, it is a programme of French music for flute and orchestra that Sharon Bezaly has chosen as a (potent) apéritif: an apéritif that will surely spread a sense of well-being in even the most strait-laced music lover. Sharon Bezaly waves her magic wand, in the form of her 24 carat solid gold flute, and we are quite simply entranced. Whatever preconceived ideas we may have entertained about the light-weight character of the music are dispelled by her obvious enjoyment in performance. Add to this the splendidly light touch of the Tapiola Sinfonietta under their regular podium-wizard Jean-Jacques Kantorow and the final brew is an irresistible and highly intoxicating apéritif. Santé!