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Todd Gorman
American Record Guide, January 2020

We hear a modern chamber orchestra with harpsichord barely present in the background. A pair of horns play in the outer movements and rest for the central slow movements. Uwe Grodd, very enjoyable in previous recordings of flute sonatas by Ferdinand Ries and Hummel’s reductions of Mozart’s symphonies, has a very pleasant, silvery sound livened tastefully with vibrato. Tempos seem to be well chosen, and the ensemble has been picked up with good attention from treble to bass.

Anyone who enjoys classicism can place these beside flute concertos by Graf, Martini, Quantz, Rosetti, and Mozart without noticing much difference. Booklet notes by musicologist Allan Badley give a thorough introduction. © 2019 American Record Guide Read complete review on American Record Guide

Records International, September 2019

Hofmann’s radiant flute concertos follow the conventions of the day with superlative elegance and a deceptive facility. The solo writing has a lightness, grace and agility perfectly suited to the instrument’s strengths, particularly in the lovely and often rhapsodic slow movements. © 2019 Records International

David Denton
David's Review Corner, August 2019

You have to turn the clock back eighteen years to find the second volume in this project to record the complete flute concertos of the composer Leopold Hofmann.

At the time I wrote that he was born in Vienna in 1738, the son of a major court official. A fine keyboard player and violinist, at the age of 28 he was appointed Kapellmeister at St. Peter’s Church in Vienna, and given the task of teaching the royal children. Political changes eventually robbed him of that high rank, and in later life he became something of a recluse, creating a vast amount of music, including a number of concertos and sinfonias.

Why he wrote this series for the flute is unclear as he was never known to play the instrument. That they are now resurfacing comes from the work undertaken by the musicologist, Allan Badley, who has made performing editions that are available from Artaria Editions. The four concertos included on this new release are in A, D and two in G, all in three movements and in the major key; their content is readily likeable, the finales very joyful and oozing with vivacity. Badley does point out there is no certainty that the one in D is by Hofmann, but everything points to his authorship. The soloist is the highly acclaimed New Zealand flautist, Uwe Grodd, who has added the cadenzas to the new published scores, and are very much in keeping with the period style of the composer. Hofmann’s orchestral parts were not demanding, and are here played with a smooth stylishness by the Czech orchestra and the distinguished veteran conductor, Michael Halasz. The flute is recorded up-front of a very well balanced orchestral sound. Highly recommended. © 2019 David’s Review Corner

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