In an age where youthful players have to play "the same old stuff", it's especially gratifying to see a young artist supported by a label such as Brilliant Classics in exploring unusual repertoire for her instrument. The Finale finds Petrucci having fun and simply enjoying the myriad runs and trills that are rather unimaginatively scattered between equally unimaginative orchestral fanfares. Whatever my subjective opinions, this has to be a hoot – pardon the pun – to play, and the accompaniment is at least well-conducted and committed. The Büchner is at once more arresting, with a darker and more imposing orchestral framework. It's again not the most innovative writing in the world, but the flute part is pretty special. Compared to the Dupuy, the solo line features greater emotional depth and is more inventive, even if the music doesn't retain its gritty outlook for more than a few minutes. Petrucci correctly recognizes that the piece has greater range, and explores both the playful and serious moments throughout the work equally well. Maurizio Ciampi's job is to keep the music moving, and that's exactly what he does. Although the orchestra doesn't have much to do, they do their job, too. The flute isn't obnoxiously spotlighted, Ginevra Petrucci's good looks aren't needlessly exploited, and the sound is very good. Flute players and those who appreciate the evolution of the Romantic concerto will both find this a worthy – if not entirely mandatory – purchase.
Brian Wigman (source/font: aquí)
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