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Todd Gorman
American Record Guide, November 2015

DEVIENNE, F.: Flute Concertos, Vol. 1 - Nos. 1-4 (P. Gallois, Swedish Chamber Orchestra) 8.573230

Patrick Gallois plays these works on a modern instrument with a very stylish sound plus a large measure of gusto applied to all the difficulties. The Swedish Chamber Orchestra has 38 members and the sound here creates the spacious effect of a full orchestra. Devienne thins and thickens his scoring so that there is a great variety of texture, making these finely-wrought display pieces well worth hearing.  © 2015 American Record Guide Read complete review on American Record Guide



Leon Bosch
MusicWeb International, March 2015

…Gallois’ erudite musicianship and effortless technique make him a worthy standard-bearer for the French school of flute playing, as well as champion of the music of his illustrious predecessor, François Devienne.

Patrick Gallois is…a musician of some complexity and he brings out the very best in Devienne’s concertos. © 2015 MusicWeb International Read complete review



Corinna da Fonseca-Wollheim
The New York Times, March 2015

A breezy, graceful cheer suffuses this lovely recording of flute concertos by François Devienne, one of the late 18th-century masters of the genre. This is home territory for the French flutist Patrick Gallois and the blazing, fleet-footed Swedish Chamber Orchestra, and their collaboration feels natural and joyful. © 2015 The New York Times




Pascal Gresset
Classica, March 2015

The convergence of contributing historical and modern interpretations, done in a personal manner, is successful. © 2015 Classica



Stephen Francis Vasta
MusicWeb International, February 2015

Flutist Patrick Gallois produces a tone that…is well-focused and well-tuned, avoiding the hard-edged sounds of the popular virtuosi of the recent past. He has the dexterity to make the scales, arpeggios, and other figurations sound easy, and the musicality and dash to make them sound purposeful: they’re flashy without being insistent. At the same time, he can spin and shape a long-breathed, pensive line, as in the Adagio of the Second Concerto.

The Swedish Chamber Orchestra contributes full-bodied, stylish playing. In the Second Concerto’s first movement, the cellos and basses take up the main motif with an impressive lightness. © 2015 MusicWeb International Read complete review



Robert Cummings
Classical Net, February 2015

Veteran flutist Patrick Gallois…plays brilliantly in all works, always displaying a deft touch for dynamics as well as a brilliant, all-encompassing technique. Gallois, who has also been regularly appearing as a conductor in the new century, serves in that role here as well, drawing splendid performances from the Swedish Chamber Orchestra. Each concerto is performed with spirit and a sense of utter commitment by both soloist and orchestra. Highly recommended to fanciers of flute music. © 2015 Classical Net Read complete review



Infodad.com, December 2014

The music here is elegant, rather detached, graceful and exceptionally pleasant to hear: the flute engages in many virtuoso techniques but never sounds strained or stressed, especially when played as well as Patrick Gallois does and with the light, finely balanced backup of the Swedish Chamber Orchestra. …all of [the pieces] are exceedingly well-formed, all show a firm and fine understanding of concerto construction and of the abilities and limitations of the flute, and all pull the listener along, seemingly effortlessly, into a sound world just a few steps beyond the fully cooperative one of the best chamber music. © 2014 Infodad.com Read complete review



Rick Anderson
Baker & Taylor CD Hotlist, December 2014

Playing on modern instruments, François Gallois and the Swedish Chamber Orchestra do a marvelous job of conveying the lightness and the joyful elegance of Devienne’s very French style. The album is a sheer delight from beginning to end. © 2014 Baker & Taylor CD Hotlist Read complete review




Gary Lemco
Audiophile Audition, November 2014

Flute virtuoso Patrick Gallois…persists in making beautiful and elegant sounds in favor of a composer who certainly warrants our attention… © 2014 Audiophile Audition Read complete review



David Denton
David's Review Corner, November 2014

Born in France in 1759, details of François Devienne’s life are at times scanty, but he was a gifted exponent of the flute and bassoon, and became a major composer. Sadly he died at the age of forty-four, not that long after he had become popular in the world of comic opera, having spent many years playing in Parisian opera orchestras. Also acknowledged as a flute teacher and writer of music for educational purposes, he was appointed Professor of Flute at the newly established Paris Conservatoire in 1795. For the instrument he wrote thirteen concertos that fell into three periods, the first three coming from the early 1780’s, and, while the date of the Fourth is unknown, its style places it late in that decade. Obviously written for his own use, it is not clear in every case as to whether he gave the first performance. The first four are not extended scores, an opening Allegro and brilliant final Rondo surrounding a slow and lyrical movement. From the programme note by the French flautist, Patrick Gallois, I learn that he is taking us as close to the composer as we are likely to come, asking that we ignore the oft used description of Devienne as the ‘French Mozart’, though in commending the disc to you, I offer that similarity as my stylistic point of musical reference. Did the composer make the music sound as busy as Gallois? True it is brilliant technical display of his agility, the orchestral accompaniment often sounding Baroque in its approach. The bottom line is to forget the academic composer you might have played as a student, and simply enjoy the amiable free-flowing pleasures you will find here. Apparently we are to have the complete concerto cycle coinciding with new performing editions from Artaria. © 2014 © 2014 David’s Review Corner





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