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Jerry Dubins
Fanfare, July 2017

Patrick Gallois’s reputation as one of today’s leading flutists precedes him. His brilliant technique and his ability to employ it in the service of style-conscious playing speak to the high level of his musical artistry. Strong support from the Swedish Chamber Orchestra, which Gallois leads in these performances, adds up to an enthusiastic recommendation to all flute fanciers. © 2017 Fanfare Read complete review



Rick Anderson
Baker & Taylor CD Hotlist, April 2017

As before, Gallois is a delightfully convincing exponent for these pieces, and the Swedish Chamber Orchestra (playing on modern instruments) provide him with the perfect balance of lightness and substance. These are masterworks of the late classical period and of the wind concerto form. © 2017 Baker & Taylor CD Hotlist Read complete review



Richard Bratby
Gramophone, April 2017

Patrick Gallois is at his most impressive in these passages: he does tongue-twisting display with formidable clarity. …As both soloist and director, he benefits from the clear, vibrato-light playing of the (modern-instrument) Swedish Chamber Orchestra. © 2017 Gramophone Read complete review on Gramophone



David Denton
David's Review Corner, February 2017

Professor of flute at the newly established Paris Conservatoire in 1795 after many years of orchestral playing, Devienne became a popular composer of comic operas. Born in 1759, his life story is rather short of details, but we do know he was in demand as both flautist and bassoonist, before his years as a highly regarded teacher. Sadly in 1803, he began to have mental problems, his death coming at the age of forty-three. He was active as a composer through that short life, having written a Mass at the age of ten, and among his works were fifteen flute concertos. They have been passed down and are now available in new performing versions from Artaria Editions. In style they owe much to Mozart, particularly in the orchestral writing, though Devinne expected a soloist of a remarkable agility, and shows that he must have had a major influence in the development of a new generation of flute virtuosos. Maybe the concertos could be described as ‘decoration without a foundation’, but they come from that era when such compositions were much in vogue, the final group of variations of the Fifth concerto being of mind-boggling difficulty. Each work is quite short with two fast movements surrounding one of a more leisurely disposition. The French flautist, Patrick Gallois, can produce a creamy tone when required, though here you will remember him for his sheer panache, his Swedish partners obliging with nicely balanced accompaniment. Outstanding sound quality. © 2017 David’s Review Corner





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