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EMMANUEL PAHUD

Flute

Critical acclaim

“That said, the Flute Concerto No. 1 in G is entertainment music on a high level, especially when played withthe panache Emmanuel Pahud brought to it yesterday. What a full, rich, luscious tone he has, perhaps the most

appealing sound since that of the young James Galway. ”

The Washington Post

“Emmanuel Pahud is poised to become the world’s premiere flutist. It is a distinction he deserves, for Mr.

Pahud, who was born in Geneva and was for eight years the principal flutist of the Berlin Philharmonic, is agifted artist. …[Pahud’s] virtues: musical grace, technical assurance and, most striking of all, a tone at once

plangent and warm.” The Washington Pos

“A stellar artist of impeccable technique and refined musicianship…. Prokofiev’s Sonata in D Major Op. 9 4

was played with voluptuous sonority, poignant feeling and attention to dramatic detail...”

The Cleveland Plain Deale

“With an astonishing array of subtly molded sounds, superb breath control, flawless articulation and, above all,

consistently eloquent phrasing, Pahud elevated the [Mozart First Flute] concerto from the charming to thesublime. The Baltimore Sun

“…one of today’s most dazzling interpreters of the 20 th-century flute repertoire.” BBC Music Magazine

“In [Mozart’s] Concerto for flute and har p as well as the solo concerto Pahud makes a dazzling impression, withhis lightness and agility…. His delicate pointing of rhythm and phrase in slow movements reveals a most

imaginative artist.” Gramophone

“One doesn’t know what to admire most in this fla utist: the musical intelligence, the finesse, the sumptuoussound or the multitude of colors. Not to mention his superior technique and the fullness of sound in every range.

[Pahud’s C.P.E. Bach, Ferroud, Fauré, Ferneyhough, Prokofiev for EMI is] a record that we would like tonominate as perfect…” Diapason

“Pahud always charms the ear.” Classic FM Magazine, June 2006

“…his ability to transform every piece with his own individuality has wooed audiences across the globe.”

Dick O‟Riordan, Sunday Business Post Agenda, June 2006



“In Swiss-French flautist Emmanuel Pahud, the ACO had yet another collaborator who projects a strong musical

personality, yet plays from within the ensemble, communicating directly with its members as colleagues, ratherthan standing isolated out front.”

James Harper, Courier Mail, 13 July 2005

Vivaldi/Brett Dean/Australian Chamber Orchestra/Concert Hall Brisbane

“Flautist Emmanuel Pahud…produced a golden stream of sound from his 14-carat golden flute. There was not ahint of breathiness in his technique; phrases, no matter how long and taxing, were flawlessly ushered in, stated

and tapered. This was musicality of untramelled pleasure.”

Neville Cohn, West Austral ian, 8 July 2005

Vivaldi/Brett Dean/Australian Chamber Orchestra/Concert Hall Perth

“Pahud brings shapely sound to light and dark programme”

“…Pahud’s flute playing was beautifully shaped and in perfect union with the orchestra”

Joel Crotty, Melbourne Age, 5 July 2005

Vivaldi/Brett Dean/Australian Chamber Orchestra/Harmer Hall Melbourne

“The fingers in the Vivaldi belonged to the brilliant Swiss-French flautist Emmanuel Pahud, whose sound is not

the disembodied platinum purity which is the ideal of some players but a more complex mixture of thrilling bloom and deeply human breath. And Pahud can do amazing things with his tongue, articulating like a

sophisticated French speak in full flight with rapidity, sangfroid and a flourish.”

Peter McCallum, Sydney Morni ng Herald, 4 July 2005Vivaldi/Brett Dean/Australian Chamber Orchestra/City Recital Hall Sydney

“…Pahud displayed the same virtuosity and artistry that was so captivating on his previous visit to Australia two

years ago. In the fast movements his flamboyant passagework was simply astounding, while the slowmovements were graced with sinuous legato phrasing. His well-controlled, tasteful ornamentations added

appealing dashes of colour, especially the distinctly avian trills he unfurled in the appropriately nicknamed The

Goldfinch concerto.” Murray Black, Australian, 4 July 2005

Vivaldi/Brett Dean/Australian Chamber Orchestra/ City Recital Hall Sydney

“…We begin with Debussy’s “greatest hit”, Prélude à l’après midi d’un faune, a well-judged account hoistedabove many a competitor by the beautiful playing of the flautist Emmanuel Pahud.”

Geoff Brown, The Times, 6 August 2005

CD - Debussy Orchestral Works/Berlin Philharmonic/Simon Rattle/EMI

“This was a shining concert, not least by the well known flautist Emmanuel Pahud, who played with brilliantstyle and sound colours.”

Julia Waldstein, TZ, 14 March 2005

Kagel/Sciarrino/München Kammerorchester

“One of the great symphonic events of my concert -going lifetime: Bernard Haitink and the Berlin Philharmonic

launched the season at the Barbican. The playing of this great orchestra – its star flute soloist, Emmanuel Pahud,

was simply staggering, hanging onto Haitink’s every gesture.” Hugh Canning, The Sunday Times , 3 October 2004

Mahler Symphony No.3/Berlin Philharmonic/Bernard Haitink/Barbican Centre

“…the nearest thing we’ve had to a star flautist since James Galway.”

Erica Jeal, The Guardian , 25 October 2003



Carl Vine „Pipe Dreams‟/Leclair Flute concerto no.3/ACO at the Wigmore Hall, 21 October 2003

“Emmanuel Pahud, flautist supreme. He appeared to be playing without breathing: out came long limpid lines,curling effortlessly above and in between the orchestral episodes, neatly tailored in the French and Italian style.”

Geoff Brown, The Times , 24 October 2003

“Flautist Emmanuel Pahud brings to the concert platform a virtuosic brilliance”

Xenia Hanusiak, Herald Sun , 22 July 2003

“With a fluent technical control, a consistently fine and expressive tonal projection, and a pleasingly stylishapproach to the work, it was a performance to delight.”

W.L.Hoffmann, Canberra Times , 22 July 2003

“Versatility is one of the qualities for which Emmanuel Pahud is renowned. The nonchalant Pahud gave a

graceful, eloquent reading combining a wonderful sound with dazzling technical control. Pahud brilliantly

conveyed the rhapsodic and virtuosic flutelike streams of consciousness.”

Gillian Wills, Couri er M ail , 21 July 2003

“Pahud’s performance was exemplary: his control is consummate. Pahud played Leclair’s Concerto in C, Op.7,

NO.3 with a rich sound which embodied not only the finely grained smoothness he elicits from his golden fluteand fluid ornamentation, but also the human expressive breath of his own laconic personality.”

Peter McCallum, Metropolitan , 15 July 2003

“That the programme worked so well was due to the brilliance of composer Carl Vine and Swiss-French flautist

Emmanuel Pahud. The centrepiece of the first half was the world premiere of Pipe Dreams. Pahud is acommanding soloist, and mastered the brisk cascading runs and flowing legato lines with consummate ease.”

Murray Black, The Austral ian , 14 July 2003

“Mandel Hall threw together one of those concerts that audiences will still be talking about years later…His

[Emmanuel Pahud] playing was vibrantly resonant, full of rich, golden tone, sumptuous colour and power tospare..Pahud and Dufour are among their generation’s finest flute players and both are trained in the celebrated

French flute tradition. A perfect match of clear, sweet tone and ear-boggling agility, they swept through theQueen of the Night’s terrifyingly ornamented aria like thoroughbreds.”

Wynne Delacoma, Chicago magazine , 19 February 2003

“Pahud’s big, bright, almost vibrato-free tone managed to project over the orchestra…played the slow

movement with supple grace and played a dexterous finale.”

Michael Anthony, Star Tri bune , 24 January 2003Ibert’s Concerto for Flute and Orchestra with the Minnesota Orchestra/Vanska

“Throughout Jacques Ibert’s Concerto for Flute and Orchestra, Emmanuel Pahud showed an exquisite sense of

line, guiding us in a specific direction whether flying through hundreds of notes or soaring on a few…he produced a low, bluesy, strong tone. Pahud took the leaps, skips and flurries in the third movement’s cadenza

with ease.”

Joan Oliver Goldsmith, St. Paul Pioneer press , 23 January 2003Ibert’s Concerto for Flute and Orchestra with the Minnesota Orchestra/Vanska



“The flautist Emmanuel Pahud joined Mr Harding and company for a beautifully shaped and sometimes

dramatic performance of the Nielsen Flute Concerto, and a graceful rendering of Mozart’s Andante in C (K315). Mr Pahud offered an entrancing account of Debussy’s Syrinx as an encore.”

Allan Kozinn, The New York Times , 26 October 2002

Deutsche Kammerphilharmonie/Daniel Harding, Carnegie Hall, 23 October 2002

“…these works [Mozart Flute Quartets] came up strong, full and at times powerful. Of course, gracefulness wasthere too, a lot of untroubled beauty and much wit. These qualities were alive in the playing and the interaction:

everything had freshness and spirit. There were passages of quite extraordinary depth…[Pahud’s] sound and phrasing were, as always, astonishing.”

Paul Griffiths, The New York Times , 20 April 2002 Chamber Concert, Weill Hall, New York, 12 April 2002

“The bustling acrobatics of Jaques Ibert’s fluffy Flute Concerto (1933) were crisply served by Emmanuel

Pahud’s big, brilliant tone..."

Sedgwick Clark, MusicalAmerica.com , February 2002 Ibert Concerto, Barcelona SO/Lawrence Foster, Carnegie Hall, February 2002

“Ibert’s Flute Concerto…was a showcase for the breathtaking skills of its soloist, Emmanuel Pahud: his precision of attack and intonation, his completely controlled but supple phrasing, his variety of shading, his

extraordinary agility…”

Paul Griffiths, The New York Times , 7 February 2002Ibert Concerto, Barcelona SO/Lawrence Foster, Carnegie Hall, February 2002

“…lustrous tone and an abundance of flair…”

Steven Cornelius, The Toledo Bl ade , 30 Mar 2001Recital with Eric Le Sage, Bowling Green State University, March 2001

“The smallest scale item, Mozart’s Flute Concerto No.1, made a very large impression, thanks to the soloist – Emmanuel Pahud…With an astonishing array of subtly moulded sounds, superb breath control, flawless

articulation and, above all, consistently eloquent phrasing, Pahud elevated the concerto from the charming to thesublime.”

Tim Smith, The Baltimore Sun , 9 February 2002Mozart Concerto No.1, Baltimore SO/Emmanuel Krivine, February 2002

“… an unimaginable flautist, as marvelous a musician as he is an accomplished virtuoso, already considered bymusic lovers as the soloist of his generation.”

Jean-Jacques Roth, Le Temps (Geneva), 9 July 2001

“…the musicians proceeded to deliver a full evening of superb quality. The audience gave them two standing

ovations.” “…One of the most admired flute players on the international scene, Emmanuel Pahud, proved to be an artist of

consummate skill and sensitivity.” William Glackin, The Sacramento Bee , 8 October 2000

Concert with Ensemble Haydn-Berlin, US Tour October 2000

Freeborn Hall, University of California, 6 October 2000



“The Ensemble Haydn-Berlin made its Washington debut with the outstanding young flutist Emmanuel Pahud

as soloist…. His sound is dark and burnished, he phrases with elegance, and he consistently shows a vivid,engaging personality. A flute Concerto by M. Haydn brought a fusillade of runs and ornaments, all dispatched

with grace and masterly breath control.”

Joe Banno, The Washington Post , 5 October 2000

Concert with Ensemble Haydn-Berlin, US Tour October 2000

Freeborn Hall, University of California, 6 October 2000

“Without a doubt the most brilliant flautist of this generation… his ravishing tone and an interpretatio ncombining outstanding musicianship with a virtuosic technique rewarded the listener with twenty minutes of

happiness.” Jean-Marie Fiorucci, Nice-Matin , 11 April 2000

Nielsen Concerto, Monte-Carlo AuditoriumOrchestre Philharmonique de Monte-Carlo/Guenadi Rojdestvenski, 9 April 2000

“Emmanuel Pahud, flautist of great personality, capturing musicianship and exceptional soloist presence was

able to underline every single aspect of the lyrical part”. Renato della Torre, Messaggero Veneto , 26 January 2000

Chamber concert, Monfalcone (Italy), 24 January 2000

“The flautist here was the marvelous Emmanuel Pahud, whose first phrase showed his usual caliber, being

unbreathy, controlled and varied in color, strong, and neatly shaped…”

Paul Griffiths, The New York Times , 10 November 1999Chamber concert, Alice Tully Hall, 9 November 1999

“…he played with modesty of demeanor, seriousness of musical purpose, and a commitment to artistic values

beyond the egotistical display of virtuosity… [The Prelude to the Afternoon of a Faun] let one hear just how beautifully Pahud phrases a melodic line, how he can expand a thin thread of tone over a seamless crescendo to

a great molten river of sound.”

Ellen Pfeifer, The Boston Globe , 1st November 1999

Recital, Jordan Hall (Boston)

“Emmanuel Pahud belongs to an elite few who truly can be considered virtuosos of the flute… he was both

captivating and precise in Mozart’s Flute Concerto No.2… he captured all the wit and operatic sparkle of thiswork while projecting a warm, silken tone from his golden instrument… his technique was impeccable, with

effortless breath control and beautiful phrasing.2

Janelle Gelfand, The Cincinnati Enquierer , 25 July 1999Mozart Flute Concerto No.2, Cincinnati Symphony/Lopez-Cobos, July 99

“A brilliant debut… Pahud and Barrueco are personable, probing and high -energy virtuosos; they unearth andsavor beauties in each score as well as they conquer all its technical challenges.”

Daniel Cariaga, Los Angeles Times , 16 March 1999

Recital with Manuel Barrueco, Orange County Performing Arts Centre, March 99

“Pahud’s golden tone and consummate technique allow him to throw off phrase after phrase with an easy,

unaffected brilliance. But in collaboration with his fellow-soloist, he also seized opportunities to introduce just

enough rubato to give those phrases an individual identity.” Barry Millington, The Times , 29 August 1998

Mozart Flute & Harp Concerto, Royal Albert Hall, Berlin Philharmonic/Abbado, August 1998



“Emmanuel Pahud blossomed, floating melodies in the first movement like silk streamers and weaving with his

partner immaculately in the cadenzas.” Adrian Jack, The Independent , 29 August 1998

Mozart Flute & Harp Concerto, Royal Albert Hall, Berlin Philharmonic/Abbado, August 1998

“Mr Pahud deserves his acclaim. He has extraordinary technique, flawless intonation, and uncanny control. The

rapid-fire passages of Schubert’s Variations were dispatched with effortless energy and scintillating sound…Most important, Mr Pahud is an insightful and vital musician. His Beethoven Serenade was delicate yet

rhythmically crisp, playful yet never jokey, archingly phrased yet never indulgent.” Anthony Tommasini, The New York Times , 24 March 1998

Recital, Weill Recital Hall (New York), Eric Le Sage, March 1998

“A warm and clear sound a good timbre, impeccable style and an elegant and easy virtuosity which made for a

very amusing and sparkling Doppler. But it was his qualities as a true musician which entranced me during the

Bach, the Max Bruch and also the Sonata for Flute, Viola and Harp by Debussy”.

Pierre Petit Le Figaro 25 October 1995

"A French flautist with immense talent - he was superb!”

Le Figaro - 1995

"Pahud will triumph at the concerts halls the world over.... He has an unique ability to modulate the sound of

the flute, producing amazing dynamics that go from a fine, delicate sound to astonishing power."F ränkisches Volksblatt - 1994

"An exemplary soloist, with a beautifully round and powerful sound."

Frankfur ter Al lgemeine – 1994

"Cultured elegance, stylish phrasing, an outstanding presence... "

Berl iner M orgenpost – 1994

"Emmanuel Pahud possesses not only brilliant technique and perfect breath control, but also communicates thespiritual breadth and perfection of the music. He already belongs among the masters of his instrument."

Stuttgarter Nachri chten - 1994

"A warm sound and a generous presence." Le Monde - 1994

"An artist of distinction, with an impressive technique, a warm and powerful sound.... A superb interpretation,

marked with generosity and passion." Gazette de Lausanne - 1993

"He identifies himself so totally with the piece that he seems to create it, giving it a natural and living breath."

Winterthur – 1993

"The beauty of the sound, the clean technique, the joy and elegance that sparkle in his playing”. I l Corr iere del Ti cino – 1992

"Inspired and convincing, Emmanuel Pahud was perfect." La Repubbli ca - 1992

"A superb flute soloist." New York Times - 1992

"Moments of intensity, colored with brightness, romance, warmth and lyricism.... All qualities shown by this

rigorous and inspired young artist." Journal de Geneve - 1992



"His technique and musicality have revealed true confidence, dynamism and the sensibility of a true musician."

Le Soir - 1985



EMMANUEL PAHUD

CD REVIEWS

“Emmanual Pahud‟s exquisitely pure sound floats in and out the the music‟ rolling textures as thoughtit was the most natural thing in the world”

Julian Haylock, BBC Music Magazine, March 2007Brahms, Clarinet Sonatas, Op.120 (arr flute) BBC music Direct

“Emmanual Pahud is a masterly flautist, a genuine star amoung EMI‟s contracted intrumentalists. He

plays with exquisite insouciance at the enticing opening of the E flat major First Sonata, and is equallycaptivating in his rapturous opening of the Andante of the F minor Sonata, while the following

Allegretto grazioso is engagingly lyrical” Ivan March, Gramophone, February 2007

Brahms, Two clarinet Sonatas, Op 122.

“Flute artistry of Pahud‟s standard doesn‟t surface every day; and the disc‟s third work, the Undine

sonata by Carl Rienecke, a genuine flute sonata from the 1880‟s is an idiomatic delight.” “Pahud‟smusicianship is unassailable; and star power is star power.”

Geoff Brown, The Times, Friday 26 January 2007Brahms/Reinecke, EMI Classics

“Pahud‟s performances are natural and convincing, yet at the same time subtly stylish in matters ofornamentation, articulation and rhythm” “A disc to give nothing but pleasure”

Lindsey Kemp, Gramophone Magazine, June 2006Six Flute Concertos Op10 (RV429;RV440)

“The chamber players – young, French, and devilishly gifted – include the Capuçon brothers,

Emmanuel Pahud, and Frank Barley. The score‟s lyrical beauties loom just as large as its wit.Whatever your age, from whatever angle you look, this album‟s a tonic.”

Geoff Brown, The Times , 31 October 2003Saint-Saëns/Les Carnaval des Animaux/Virgin Classics (5-45603-2)

“..with flautist Emmanuel Pahud outstanding in an especially silky rendering of the dreamy Prelude.”

Anthony Holden, The Observer , 16 February 2003Debussy: Pelleas Suite/Prelude a l‟apres-midi d‟un faune, 3 nocturnes, Berlin Phil./Abbado (DG 471 332-2)

“Listen to the flute solo by Emmanuel Pahud which begins the Prelude a l‟apres -midi d‟un faune – here is noonday sensuality super- plus”

Michael Kennedy, The Telegraph , 16 February 2003Debussy: Pelleas Suite/Prelude a l‟apres-midi d‟un faune, 3 nocturnes, Berlin Phil./Abbado (DG 471 332-2)

Khachaturian (arr. Rampal) and Ibert Flute Concertos with Zurich Tonhalle (EMI 5 57563 2)



“Better still is the slow movement [Khachaturian], where Pahud‟sexquisitely hushed playing finds a

mystery and tenderness in the hypnotic, Satie-like melody….[In the Ibert concerto] what sets Pahud‟s performance apart is the depth of feeling he conveys in the slow movement; poignantly mysterious,

with breathtaking pianissimi matched by the strings of the Tonhalle Orchestra under David Zinman.” Edward Greenfield, Gramophone, November 2003


“[Khachaturian concerto] It was worth the wait…He plays with an obvious relish for the freeflowing

flurry of sparkling, tune-filled ideas. In both the Ibert concerto and miniature Pièce for solo flute, he isless showy, more focused, negotiating the deceptive melodic simplicity and feisty flashes of Gallic wit

with a nimble and winning dexterity. Try the sunny tranquility of the beautiful slow middle movementfor Pahud at his best.”

Oliver Condy, Classic FM, October 2003


“[In the Khachaturian] Pahud‟s pace gives the piece a dramatic grandeur; the power of his lower

register ensures he‟s never drowned out (not so most other flautists, even with the best sound engineerin tow)….a chamber like intimacy to the Andante‟s Armenian chromaticisms as well as a sense of

entertainment to the melody-filled final Allegro…for his sheer mastery of his instrument – his cadenzareigns supreme; his top notes never buzz – but also because his performance of Ibert‟s Flute Concerto

is in another league, revealing a charismatic artist whose exuberance intensifies rather than stultifiesthe Concerto‟s wide ranging subtleties.”

Kate Sherriff. BBC Music Magazine, November 2003

Telemann CD with the Berlin Baroque Soloists (EMI Classics 557397-2)

“You will rarely hear such personality in a Baroque concerto soloist as the extraordinary Emmanuel

Pahud exhibits here… it is his sensitivity to Telemann‟s gestural implications and ability to colour themusic at every turn which makes Pahud‟s playing so enchanting in all five concertos… The Flute

Concerto in D confirms everything about Pahud‟s exquisite taste and mesmerising sound. A realwinner.”

Jonathan Freeman-Attwood, Gramophone Magazine, December 2002

“Emmanuel Pahud and the Berliner Barock Solisten have Telemann‟s concerti quite perfectly sussed…fluid, gracious, almost vocal decorations and nuances set against the compelling sweep of the

ensemble‟s long, clear phrases.”

Anna Picard, The Independent, 10 November 2002



Bach CD with the Berlin Baroque Soloists (EMI Classics 7243 5 57111 2)

“Pahud is an artist‟s artist: stylish and occasionally flashy in his interpretations but never allowing the

predominance of virtuosity at the expense of rock-solid musical judgement. His tone is wonderfully

fluent and fluid, not to mention adaptable to the mood of the moment.” Robert Emmett, Fanfare , September/October 2001

“This CD‟s real prize is the unaccompanied Partita in A minor (BWV 1013). Here, one can appreciatefully the flutist‟s virtues: musical grace, technical assurance and, most striking of all, a tone at once

plangent and warm.” David Mermelstein, The New York Times , 13 May 2001

“Emmanuel Pahud‟s purity of sound and freedom of musical line make him a natural for the Baroquerepertoire.”

Ken Smith, The Newark Star-L edger , 10 April 2001

“Altogether these are stylish performances, with excellent choices of tempo, awareness of the character

of the dances in the Suite and the Partita, buoyant rhythms and beautiful shaping of phrases… very fineBach playing, to be wholeheartedly recommended.”

Gramophone Magazine , March 2001

Recital CD with Stephen Kovacewich and Katarina Karnéus (EMI 5 56982 2)

“Despite the distinguished contributions of singer, cellist and pianist, this disc quite rightly focuses on

the extraordinary flute- playing of Emmanuel Pahud… Pahud‟s range of tone color is amazing – no onelistening to the Prokofiev Sonata is likely to feel short-changed by not hearing it in its familiar violin

transcription… in Aoua!, the central movement of Ravels‟ Chansons Madécasses, Pahud gets closerthan most flautists to playing, as the composer directs, „like a trumpet‟. His dynamic range is still mor

startling, but there is never any sense of him extending the instrument beyond its nature… Pahud gives[the Prokofiev Sonata] a big, bold and vivid reading, but with nothing overstated in the lyrical

dialogues of the opening movement or the warmly expressive Andante.” Michael Oliver, Gramophone , May 2000

“Flautist Emmanuel Pahud has the seductive tone to inspire other world class musicians to ecstasy…

This is an adventurous compilation of pieces, the common link being the superb flautist EmmanuelPahud. Whether playing solo or in tandem (…) Pahud‟s awesome technique is made the more

attractive for its unique style of dress chosen, as it is, from a musical palette resplendent in a vast rangeof colours, tectures and tints… With exemplary sound, this production comes with the highest

recommendation.” Barbara Hammond, Classic CD , June 2000



“Not only has he produced definitive accounts of Prokofiev‟s Flute Sonata and Debussy‟s Syrinx, he‟salso proved himself to be a stylish chamber performer when accompanying the voice… Prokofiev‟s

Sonata is the perfect piece for Pahud to exhibit his technical prowess and musical insight.” Kate Sherriff, BBC Music Magazine , June 2000

“A glittering, diamond-hard technique supports an unerring gift for phrasing in his playing… he

manages to combine a melting lyricism and skittish playfulness without ever descending intofeyness… his performance of Prokofiev‟s Violin Sonata No.2 (…) is a revelation.”

Warwick Thompson, Metro (London) , 4 April 2000

Mozart Flute Quartets CD (EMI 5 56829 2)

“This new release of Mozart Flute Quartets is a delight.” Classic FM Magazine , October/November 1999

“…the playing is so elegant and fresh it seems to raise the music to a higher level. A remedial disc.And very easy on the ear.”

Michael White, The Independent , 6 February 2000

“…it would be hard to imagine a finer performance of these works, the flautist Emmanuel Pahud producing a warm yet clear tone, in a highly musical interpretation.”

Joanne Talbot, Classic CD , December 1999

“Leading flutist Emmanuel Pahud proves a seductive advocate of Mozart‟s Flute Quartets…

Surpassing any previous recordings of the quartets… these interpretations possess real joie de vivre.” Kate Sheriff, BBC Music Magazine , December 1999

“… Pahud finds a mystery and subtlety of dynamic shading that outshine any rival.” Grammophone , November 1999

“This is a disc of youthful high spirits, charming and witty, with Pahud lighter and fresher than suchrivals as James Galway… in the B minor adagio of the Quartet K285, Pahud finds new mystery

through his subtle phrasing… this signals the arrival of a new master flautist.” The Guardian , 8 October 1999



Flute Concertos and Scherzandi by Joseph and Michael Haydn CD (EMI 5 56577 2)

“Emmanuel Pahud plays all these pieces with a great deal of virtuosity and polish. He easily equals his

competition in all of them.” Ameri can Record Guide

“… Emmanuel Pahud, Principal Flute of the Berlin Philharmonic, gives performances it would be hard

to better, with his sweet, gleaming tone, pointed articulation and intensely musical phrasing” Gramophone Awards Issue

“Paris” CD (EMI 5 56488 2)

“Pahud‟s brilliant and sensitive performances are outstanding… exhilarating… intense… mysteriouslyatmospheric… tender… and powerfully athletic… this is a winner of a disc.”

Gramophone

“Mr Pahud… treats listeners to a compelling selection of short works… the rewards here are plentiful.Chief among them is Mr. Pahud‟s supple, mellifluous playing. His articulation is astonishingly crisp,

his tone pellucid…” The New York T imes

“Emmanuel Pahud is a stunning flautist; an extremely accomplished technician negotiating even themost tortuous passage work with deceptive ease, and with an incredible range of tone colour to moldhis exquisitely fluid phrasing into a thing of beauty.”

Classic CD

“I haven‟t heard a flutist on disc that I like as much as Emmanuel Pahud. His playing is extremely

interesting: he offers a huge range of colors and shades, and he brings all kinds of refreshing perspectives to the often-recorded and often- performed music here.”

Ameri can Record Guide

“Flautist Emmanuel Pahud and pianist Eric Le Sage play with appropriate clarity and lightness,avoiding the kind of forced sentiment that can undermine the delicate balance of form and

improvisatory fantasy in this music.” Detroit F ree Press



“The flute player on this recording is the new international star of the instrument… Mr. Pahud has a big, bold sound and a technique equal to some difficult technical challenges.”

The Dallas Morni ng News

Mozart Flute Concertos CD (EMI 5 56365 2)

“Pahud…is a natural soloist, pointing phrases and rhythms with poetic individuality, never just aconformist orchestral player."

Gramophone

“Pahud is a naturally gifted flautist, with impeccable breathing and finger technique, an imaginative player, always adventurous in the sound he produces. He has a remarkable and innate feeling for

musical context and special detail.” Frankfur ter All gemeine Zeitung

“The Romantic Flute” 3 CD set (with Eric Le Sage ) (Auvidis Valois V4812)

“This set certainly avoids the cliched metallic sheen of many a flute virtuoso and persuasively makes

the case for a soft-grained, almost woody alternative… Pahud and his partner make a really persuasiveduo, and handle stylistic problems with impeccable taste. Their wonderfully free sense of musical give

and take and unforced airiness make these performances thoroughly distinctive.” Michael Dervan, The Ir ish Times , May 1998

“ Pahud and Le Sage shape and articulate each variation [Schubert] with infectious enthusiasm… they

invest [Weber‟s 6 Progressive Sonatas] with a full complement of tonal and dynamic variety…. Adelightful compilation.”

Barbara Hammond, Classic CD , May 1998

“Emmanuel Pahud gives performances it would be har d to better, with his sweet, gleaming tone,

pointed articulation and intensely musical phrasing.” Gramophone Awards Issue

“Emmanuel Pahud will be our new Rampal… Wonderful sound, of poignant mystery… The pureinstrumental beauty and an ideal feeling for the music keep us constantly in suspense. Don‟t miss any

of his recordings!” Diapason



FLÖTENMUSIK (MGB CD 6107) C.P.E. Bach, Ferroud, Fauré, Ferneyhough, Prokofiev

One doesn't know what to admire most in this flautist: the musical intelligence, the finesse, thesumptuous sound or the multitude of colors. Not to mention his superior technique and the fullness of

the sound in every range! ... A record that we would like to nominate as perfect, for the talent exhibited

within is outstanding. An outrageous mastery! Diapason - September 1994

It is in an eclectic repertoire that Emmanuel Pahud allows us to appreciate his talent. One doesn'tknow what to admire most in this flautist: the musical intelligence, the finesse, the sumptuous sound or

the multitude of colours? Not to mention his superior technique and the fullness of the sound in everyrange! .... A record that we would like to nominate as perfect, for the talent showed within is

outstanding. An outrageous mastery!

Diapason - September 1994

This first CD reveals right away a master of his instrument. Fono Forum - 1994



EMMANUEL PAHUD

Today's Zaman (Istanbul) December 13, 2011

Pahud and pace: pure goldBY ALEXANDRA IVANOFF

With his gleaming gold flute, Emmanuel Pahud and his pianist, Yefim Bronfman, gave a concert of breathtaking beauty

and superlative musicianship on Dec. 8 at I?s¸ Sanat. And their interpretations of music by Schumann, Brahms, Mozartand Prokofiev set a gold standard with these four golden classics.

In Robert Schumann’s “Three Romances,” Pahud’s beefy sound throughout the compass of his instrument, especially

in the low range, convinced me that these pieces, originally composed for oboe and piano, could succeed with the flute.In fact, his exquisite phrasing and feathered endings with many perilously soft and sustained high notes actually

appeared to be more appropriate for the flute. But it was his sumptuous tone enriching these three perfumed flowers

that began the evening, and they were just the harbinger of things to come.

In Johannes Brahms’ Sonata No. 2 in E-flat major, originally for clarinet and piano (and often played also by the viola),Pahud captured the richness of this German romantic piece and didn’t allow it to sound like an overly delicate

adaptation. He had enough power to pump out the many low notes in the martial mid-section of the second movement

that needed military brawn. And it appeared that Bronfman didn’t hold back; because of Pahud’s potent tone, he wasable to give full weight to the k eyboard’s knuckle-busting role.

Their way with Mozart’s Sonata No. 21 in E minor (originally for violin) brought out the crystalline clarity of Mozart’s

magical textures with deft precision and lightness, especially in the Minuet’s rolling lines of fulsome melodies and

oddball departures from the template, which included a sudden chromatic solo cadenza in the piano and plunging lownotes for the flute. Then the duo launched into one of the flute repertoire’s original tour -de-force masterpieces, Sergei

Prokofiev’s Sonata in D Major, a maelstrom of fiendish technical demand and incandescent beauty. The first movement

is like a circus: full of musical cartwheels and high-wire derring-do. The second, a scherzo-presto is a beehive wherethe workforce is buzzing alongside a haunting little air for the queen bee, and their dizzying race to the end is an

exhilarating ride. The slightly jazzy third movement’s lazy theme wanders around in search of a new home, and the

fourth movement takes us back to the circus’ three-ring show of full-blown bravura, percussive punch and hilarioushocus- pocus. Pahud and Bronfman couldn’t have been more gleaming in their bejeweled performance.



EMMANUEL PAHUD

ClassicalSouce.com August 22, 2011

Proms 2011 – Emmanuel Pahud & Eric Le Sage: Martinu, Dutilleux

& ProkofievBY BEN HOGWOOD

This was Emmanuel Pahud‟s second visit to BBC Proms this year, following on from concerto performances of music

by Elliott Carter and Marc-André Dalbavie. This recital‟s theme was the 1940s, three works for flute and pianocompleted in that decade. It was a flying visit, for due to a rescheduled concert Pahud was required back in his role as

principal flute of Berliner Philharmoniker that evening!

Pahud and Eric Le Sage began with Bohuslav Martinu°, whose attractive Flute Sonata of 1945 is of a sunnydisposition, indicative of a composer enjoying his summer holiday in Cape Cod. The colourful, blues-inflected

harmony of Le Sage‟s introduction sat well with Pahud‟s long-breathed legato and chirpy staccato passages. Thesweetly reflective slower theme in the first movement was a delight, as was the finale, which finds the composer

evoking the whip-poor-will, a bird whose incessant song dominated his thoughts while writing the piece. Here it was persistent yet charming, Pahud‟s bright tone ideal for the closing flourish.

In a brief chat with BBC Radio 3 presenter Catherine Bott, Pahud expressed the wish that Henri Dutilleux mightcomplete a Flute Concerto “before the age of 150” (the composer is now 95). The seemingly age -less Dutilleux didhowever write a Sonatine for flute in 1943, a piece he has recently described with characteristic modesty as

“conservative”. An exam piece for the Paris Conservatoire, the colourful work makes demands on a variety of playing

techniques, which Pahud had mastered thoroughly. There was beautiful control on the final note of the first movementas it faded away, some quick-fire flutter-tonguing in the staccato figuration of the third movement and a wide range of

colour, often rich, in the Andante. Le Sage, too, was not without challenges of his and the incisiveness he applied to thefaster music gave it real cut and thrust.

Thanks largely to David Oistrakh‟s endeavours, Prokofiev‟s Flute Sonata is now better known as the composer‟sSecond Violin Sonata (Opus 94a). It was therefore a pleasure to hear Pahud returning it to its original state in a

performance of great vigour and panache. The duo chose daringly fast tempos at times, but the music still had room to

breathe, its wry humour and sudden bursts of lyricism alternating beautifully. The Andante found Pahud exploring theexpressive qualities of the flute‟s lower range, while the second theme of the first movement, with its composer‟scharacteristic „wrong notes‟, was endearingly bittersweet. Capping off the performance was the quick -step of the finale,spiced up Le Sage as the coda beckoned, the pair enjoying Prokofiev‟s balletic sleights of hand. As a generous encorewas a florid account of Fauré‟s Fantaisie (Opus 79) to complete a wonderful recital in warmly expressive style.



Emmanuel Pahud

The Kansas City Star February 21, 2010

Review: Stern leads symphony in precise, colorful concertBY TIMOTHY MCDONALD

CHRIS OBERHOLTZFlutist Emmanuel Pahud performed with the Kansas City Symphony on Frida

You can tell when Kansas City Symphony music director Michael Stern is back in town. When Stern takes command

of the orchestra, you can hear it and feel it in the sound.

Friday night‟s concert at the Lyric Theatre was a case in point. From the opening upward sweep in the violins during

the first measures of Rossini‟s “Overture to „La scala di seta,‟ ” you could tell from the precision that Stern hadrehearsed them.

The remainder of the work was delightful, with satisfying crescendos and a striking sense of ensemble. Oboist MingjiaLiu and flutist Michael Gordon were particularly impressive with their solo lines.



Emmanuel Pahud

The Kansas City Star February 21, 2010

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Stern and the Symphony served up Beethoven‟s “Symphony No. 8 in F Major” with an extra dose of vigor and

excitement. The opening movement was noteworthy for the musical contrast between the joyful opening melody andthe dancelike second theme.

The sprightly second movement was followed by the minuet with a pronounced Austro-German bounce. The finaleseemed infused with a sort of primal energy but also exhibited some finely nuanced detail.

Friday‟s concert was the premiere of Italian composer Luca Lombardi‟s “Concerto in E for Flute and Orchestra,”commissioned by the Symphony with a grant from the Miller Nichols Charitable Foundation.

Flutist Emmanuel Pahud performed virtuosic runs with aplomb, but at times the concerto seemed pointillistic, as in theopening, with a three-note flute figure echoed by the strings.

Lombardi‟s music was tonal and filled with all sorts of fascinating colors and creat ive instrumental techniques.

In the final movement, the audience started applauding after final percussive orchestral chords. Pahud had the lastlaugh, however, with a breathy final flourish.

The flutist encored with an excerpt from Bizet‟s “Carmen,” dis playing marvelous tone, particularly in the beautiful

opening section with harpist Deborah Wells Clark.

A dramatic and exciting rendition of Tchaikovsky‟s “Francesca di Rimini” concluded the evening.



Emmanuel Pahud

Baltimore Sun May 5, 2009

Brilliant baroque concert with Pahud, Pinnock, Manson at Shriver

HallBY TIM SMITH

The Shriver Hall Concert Series wrapped up its subscription series Sunday night with a splash of brilliant baroquefeaturing the Berlin Philharmonic's principal flutist, Swiss-born Emmanuel Pahud; eminent English harpsichordist andconductor Trevor Pinnock; and the excellent Scottish cellist Jonathan Manson.

The primary focus was on flute sonatas by Bach, showcasing Pahud's extraordinary tonal gleam and subtlety of phrasing; his ability to produce a perfect pianissimo was in itself worth catching the concert. Pinnock backed the flutistwith a mix of technical elan and expressive finesse (he also recovered neatly from two crises in the Sonata No. 2 -- asticking note on the keyboard and a wind gust that played havoc with his music score).

Pahud also had a field day with Telemann's vibrant D major Fantasie for unaccompanied flute. On his own, Pinnockoffered an eventful account of Purcell's Suite No. 4, getting a lot of colors from the harpsichord and, in the concluding

Gigue, articulating the rushing counterpoint with terrific clarity and infectious enthusiasm. Manson, playing on a fine baroque cello, added beautifully detailed lines to some of the flute sonatas and also got the solo spotlight for Bach's Gmajor Cello Suite, which he performed with as much virtuosity as refined sensitivity.

Although this was the end of the main Shriver Hall presentations for the season, there's one more event in theDiscovery Series that the organizations presents at the neighboring BMA -- a recital by the remarkable young British

clarinetist Julian Bliss at 3 p.m. Saturday. It's free, but reservations are recommended.

http://www.shriverconcerts.org/index.php

http://www.artbma.org/

http://www.shriverconcerts.org/tickets.php?purchaseID=1130

http://www.shriverconcerts.org/tickets.php?purchaseID=1130

http://www.artbma.org/

http://www.shriverconcerts.org/index.php



Emmanuel Pahud

New York Times May 1, 2009

Touring the Baroque on the Wings of a FluteBY VIVIEN SCHWEITZER

Emmanuel Pahud, above, played Bach, Telemann and Purcell. He was joined by Trevor Pinnock and Jonathan Manson.

Rob Bennett for The New York Times

During a recital at Zankel Hall on Wednesday evening, the brilliant Emmanuel Pahud performed Bach’s flute sonataswith remarkable tone and technical finesse, ably accompanied by two stellar colleagues: the harpsichordist TrevorPinnock and the cellist Jonathan Manson.

The program was framed by Bach’s Flute Sonatas in E minor (BWV 1034) and in E (BWV 1035), which both use the

older four-movement format with harpsichord and cello continuo.Mr. Pahud, a principal flutist of the Berlin Philharmonic, played with a liquid tone and expressive phrasing, renderingthe elaborate passages with flair. His soaring melodies shimmered over the continuo lines of the cello and harpsichord.

Bach’s Flute Sonatas in B minor (BWV 1030) and in E flat (BWV 1031) highlight the emergence of the duo sonata, inwhich the cello continuo of the Baroque trio was eliminated and replaced with a more equal partnership between fluteand harpsichord. Because of its genial, lighthearted character and relative lack of contrapuntal vigor, musicologists

have questioned whether the E flat Sonata was actually written by Bach.

http://topics.nytimes.com/top/reference/timestopics/organizations/b/berlin_philharmonic/index.html?inline=nyt-org

http://topics.nytimes.com/top/reference/timestopics/organizations/b/berlin_philharmonic/index.html?inline=nyt-org



Emmanuel Pahud

New York Times May 1, 2009

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Bach was initially passed over for a prominent position in Leipzig in favor of Telemann, who was inspired by Bach’sflute music when composing his own solo works for the instrument, like the Fantasia in D. Mr. Pahud played that piece,

one of a set of 12 that Telemann composed, with lovely phrasing in the spacious Alla Francese and vigorous energy inthe sparkling Presto.

Mr. Pinnock, a pioneer in the modern early-music movement, offered an imaginative and expressive performance of

Purcell’s Harpsichord Suite No. 4 in A minor, which Purcell wrote as a keyboard exercise for his pupils. It was published shortly after his death in a series of lesson books, accompanied by instructions regarding the trills and other

embellishments.

Bach’s cello suites, probably intended as technical studies, languished in obscurity until Pablo Casals played them earlyin the 20th century. Using a Baroque cello, Mr. Manson offered a remarkable performance of the Suite No. 1 in G. He

played with a pure, warm, vibratoless tone and lilting phrasing, imbuing the work with an elegant freshness and soulful

introspection.

Documents

151Pahud_Press.pdf