Charm and wit

Since the solo piece Danse de la chèvre (1919) by Arthur Honegger and the Ballad for flute and piano (1939) by Frank Martin, flute music by Swiss composers receives almost as much attention as that from our western neighbor. How much interesting and valuable music there is from the period from 1921 (Werner Wehrli: Suite) to 1989 (René Gerber: Valse), which has long been overshadowed by the aforementioned Pièces de résistance, are presented by the flautist Franziska Badertscher and the pianist Anne de Dadelsen with great charm, wit and brilliance.

The 1937 painting is a special treasure. Grande Sonata op. 53 by Joseph Lauber. The Rheinberger pupil from Ruswil in Lucerne incorporated influences from Debussy and Ravel to create a colorful tonal language. The predominantly cantabile first movement (Patetico) and the lively Presto finale (Burlesco) are played with virtuosity by the dynamic performers.

The expressive Sonata op. 68a for alto flute and piano by Raffaele d'Alessandro confirms what his counterpoint teacher Nadia Boulanger said: "Vous portez en vous une œuvre authentique." Lyrical qualities predominate in Werner Wehrli's stylistically multi-layered Suite op. The light-footed march speaks of mischief, the expressive song movement is dreamy. Romanticism alternates several times with neoclassical elements.

With a high degree of transparency and finely contoured linearity, the Kaval and the Sonatina from Jean Binet, noblesse fulfills the simple Pavane and a waltz by the Neuchâtel Dukas pupil René Gerber. Julien-François Zbinden benefited from his many years of experience as a jazz pianist in the clear and concise Sonatina op. 5. The flutist's lightly played tone repetitions contribute just as much to the liveliness of this lively opusculum as the pianist's accentuated syncopations.