"A concerto in the making, Prokofiev’s "Flute Sonata" (1943) responds well to Stephan Koncz’s recent orchestration, always eventful, that brings out the nonchalance of its initial Moderato then the playfulness of its Scherzo. Emerging as a wistful "song without words", the Andante makes a telling foil to the final Allegro whose impetus carries through to its decisive ending. By contrast, Christopher Rouse’s "Flute Concerto" (1993) has an emotional depth as evident in the unfulfilled yearning of the song-like movements that frame it as in the aggressive then acerbic scherzos with which they alternate. At its centre is an "Elegia" whose commemorative purpose results in an extended "scena"; soloist first among equals in what becomes a troubled meditation about death and wanton destruction. Whether or not the finest of this composer’s various concertos, it is quite understandably among his most directly communicative works. Contrast again with Toshio Hosokawa’s "Ceremony" (2022), its evocation of a shaman whose song awakens the surrounding orchestral "world" related over three movements of mounting animation. The last of these is duly curtailed at its height, leading into the virtuosic cadenza, which itself subsides into a finale as might conceivably represent the harmonious existence between humans and their environment that has so often been sought but so rarely attained. Pahud is no less responsive to the latter work than Mario Caroli and while the Rouse is well served by flautists such as Katherine Bryan or Sharon Bezaly, this new account is no less committed to its cause and may be the preferred option should its coupling suit. Excellent playing by the Dresden Philharmonic under Jonathan Stockhammer further enhances an enterprising release." (Gramophone)
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