In the Briccialdi, he handled all the increasingly complex ornamental filigree with aplomb and seeming ease, and in the Borne fantasy, he made the Act II opener (Les tringles des sistres tintaient) sparkle. His breath control is remarkable, his tone widely varied - from fat, breathy low-register notes to piercing, high notes that faded beautifully in tune - and he spun out line after line of spotless, rapid runs. 77), one of an endless number of such showpieces based on this melody, this one by the Italian composer Giulio Briccialdi (who also, Galway demonstrated, invented the modern flute’s B-flat key).Īt 71, Galway’s formidable skills are undiminished. ![]() Two cases in point: the Carmen Fantasie of French flutist-composer Francois Borne, and The Carnival of Venice (Op. The rest of the program had a good deal of 19th-century virtuoso music for the flute, salon music from a time when everyone knew popular opera and folk tunes and couldn’t wait to hear what feats of athleticism the performer could wring from them.
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