Nouveau CD : Paganini del piccolo

paganini-du-piccoloJEAN-LOUIS BEAUMADIER, piccolo (1 à 12)
SHIGENORI KUDO, flûte (2,7,12)
MARIA-JOSE CARRASQUEIRA, piano (3,4, 8 à 11)
LAETITIA BOUGNOL, piano (1,5,6)
ANNE GUIDI, piano (2,7,12)


Les titres

CESARE CIARDI (1818-1877)
1 La Folle op.64 6’06’’
2 Maria Padilla, « Duetto », sur des thèmes de Donizetti 8’39’’


PATTÁPIO SILVA (1880-1907)
3 Primeiro Amor op.4 2’16’’
4 Margarida, mazurka op.3 3’01’’

5 Moto perpetuo op.8 5’25’’

6 Mazurka de concert 3’16’’

LUIGI HUGUES (1836-1913)
7 Aïda, 1ère Fantaisie op.70, sur des thèmes de Verdi 10’43’’


8 Souvenir du Para op.10 5’46’’
9 Tarentelle op.3 3’37’’
10 La Sensitive op.8 4’18’’


11 Lundú Característico 9’45’’

12 Pensieri del Rigoletto 14’43’’


Durée totale 77’ 53’


Critique : Magazine allemand « TIBIA » MOECK 2019


Critique : Magazine Fanfare USA décembre 2018

Piccolo recitals are not so common that we can afford to turn our noses up at them. JeanLouis Beaumadier began by studying the flute (with Jean-Pierre Rampal, and with Jean-Pierre’s father Joseph). He soon was interested in the piccolo… lire la suite >


Critique : Magazine PAN MAGAZINE de Juillet 2018


Critique : American record guide 2018

This program combines selections from two previous releases, “Brazil 1900” on Skarbo 4092 (J/F 2010: 260) and “Piccolo and Flute at the Opera”, Skarbo 4085 (not reviewed). It consists of salon music by flutist-composers of the 19th and early 20th centuries. About the one earlier release, Perry Tannenbaum warned readers “During an attempt to replay this collection, my wife issued a blunt prohibition—and invited me to pass along the warning that this music could drive a dog insane.” He found, “At fast tempos, a clownish carnival tedium imposes itself when Beaumadier’s lightning exploits are prolonged.” On the other hand, “Slower passages are nicely spiced with hints of the tango, only to be dispelled by the pipsqueak fiddle-faddle when Beaumadier accelerates, playing with admirable but inexplicable conviction.”

It’s conviction that certainly comes across through the high pitches and high level of fervor. I have more sympathetic ears because I hear exquisite control and playing that is as sensitive as it can be. Many notes that would scream out have to be subdued with alternate fingerings to allow them to speak softly, and many such moments indicate this judicious approach that only people who have tried the instrument might fully appreciate. The piccolo is so high that any attempt to turn it into something it’s not will fail. Provided you can accept the instrument as it is, there is much music to be made on it outside its ensemble context in bands and orchestras.

The stature of the piccolo has been raised this way only recently. The National Flute Association has been recognizing piccolo players with Lifetime Achievement Awards since 1993, first to Lois Schaefer of the Boston Symphony. Jean-Louis Beaumadier has devoted his career to exposing audiences to the musicality of the piccolo, largely through playing flute music without further changes, as here. The numbers shared with flutist Shigenori Kudo really indicate the musicality of the piccolo playing.

Although the booklet notes could have told us more about the pieces, the information is easily available through online resources such as IMSLP. The assortment of European and South American selections makes for historical and geographical as well as musical interest. © 2018 American Record Guide.