Dieter Flury, flute and Maria Prinz, piano in Review
Dieter Flury, flute Maria Prinz, piano Weill Recital Hall at Carnegie Hall February 12, 2011
Dieter Flury and Maria Prinz; Photo Credit: Johannes Ifkovits
In this program, entitled “Viennese Classics for Flute and Piano,” Bulgarian pianist Maria Prinz and Swiss flutist Dieter Flury proved that you do not have to be born in Vienna to love its musical traditions. In her program notes, Ms. Prinz wrote that having lived and worked in the city of musical dreams for 25 years as “foreigners” has given them enough familiarity with, and enough distance from, the style to balance emotional involvement with objectivity.
Mr. Flur, in addition to appearing with other leading orchestras, has been solo flutist of the Vienna Philharmonic since 1981; Ms. Prinz, besides enjoying a successful solo career, has taught at Vienna’s University of Music and Performing Arts since 1987. The high expectations raised by these credentials were not disappointed. Both players proved to be complete masters of their instruments; Mr. Flury played on a golden flute whose radiance was matched by its warm, round, shimmering tone; Ms. Prinz was an exemplary collaborator, leading and supporting with equal sensitivity and, with the piano on the small stick, never too loud. The only flaw in their performance was their penchant for exaggerated phrasing and overuse of dynamic contrast, as if they trusted neither the music nor their own expressive playing to speak directly to the audience.
The first hint of these tendencies came in the program’s opening work: Mozart’s Sonata in B-flat major, K. 378, originally for violin and piano. Every repeated figure turned into an echo, and in the first movement, Mr. Flury fell prey to the problem of dealing with the transition from the first to the second theme, making a huge ritardando where a slight hesitation would be more effective;. The Sonata works well on the flute, especially the bright Finale, and Mr. Flury also captured the expressive intensity of the passages in the darker register.
The concert included two unfamiliar works by Beethoven: a set of Variations, Op. 107 No. 7, and a Sonata in B–flat major without opus number. The variations bear the unusual title “For piano with the accompaniment of a flute,” but in fact the instruments act as equal partners. The Theme is a melancholy Ukranian folksong that was also used by Hummel in his Trio for flute, cello and piano. Doubts have been raised about the authenticity of the Sonata, and, indeed, while some of its themes and their development could well belong to his early period, others seem to point to less distinguished authorship.
Haydn’s Sonata for flute and piano No. 8 in G major is a transcription of a transcription: its original source is Haydn’s String Quartet Op. 77, No. 1; Haydn himself arranged it for violin and piano, omitting the Minuet and Trio. In the flute version, Mr. Flury simply played the violin part, and, since the piece is sunny and high-spirited, the transformation was very successful.
The program closed with that popular staple of the flute repertoire, Schubert’s Introduction and Variations on his own song, “Trock’ne Blumen” from the cycle “Die schoene Muellerin,” D.802. Written at a time late in his life when he was experimenting with combining intimate chamber music with technical fireworks, it demands a lot of virtuosity from both performers; it concludes with a jaunty March, but, being based on a slow, mournful song in a minor mode, its lyrical, singing element predominates. The highlight is a variation in major whose beauty and simplicity stop the heart. The two players’ deeply expressive performance left no doubt of their love for the music. Though they displayed plenty of brilliance when appropriate, even the bravura variations never became mere showpieces. In response to the sell-out audience’s enthusiasm, they played an encore: Mozart’s lovely C major Andante, announced by Mr. Flury as “Maria’s favorite.”
