Robert Muczynski: Complete Works for Flute

This is a fine recording of many of the wind works of Robert Muczynski (1929-2010).  Although these pieces date from 1960 - 1992 a very consistent style is apparent.  I really related to these pieces because they are so nicely constructed and rhythmically dynamic.  I particularly enjoy the way that Muczynski juxtaposed angular and linear elements as a method of creating structure.  The two works on this recording for wind quintet performed by the Stanford Wind Quintet, the Quintet for Winds, op. 45, and the Movements for Wind Quintet, op. 16, reveal the composer's affinity for the wind instruments.  The winds really seem to suit Muczynski's mode of expression because they are so adept as a group with changes of harmonic color.  The lines grow out of the combination of kaleidoscopic harmonic shifts.  The composer's harmonic palette is a plentiful and provides a constant freshness.

The Movements for Wind Quintet would make a sophisticated introduction for a young performing group to the workings of American neoclassical sounds.  These miniatures would also serve as a launching point for Muczynski's Quintet for Winds, which is much more substantial work which has become a standard repertory piece.  This work has very strong solo lines for all of the instruments.  Even though the Quintet dates 22 years after the Movements the same stylistic traits can be recognized.

The Flute Duets, op. 34, are very nice miniature abstract inventions which involve more chromaticism than the other pieces.  They all create a gentle atmosphere, with an almost Far Eastern meditative quality, even in the faster movements.  They are performed here by Alexandra Hawley and Jean-Pierre Rampal.

In the Moments for Flute and Piano, op. 47, the writing fluctuates between a rhythmic and a longingly lyrical central episode.  The darkly second movement seems to express like lonely thoughts in the night, but activates into pleasant memories, and back again to dark and distorted thinking.  Waves of introspection.  The last movement has a very assertive sense of movement and seriousness, with some brief episodes of calm.
© 2017 Steve D. Matchett