Karl Kaiser, La Stagione Frankfurt - Holzbauer, I.: Flute Concertos in D Major - E Minor - A Major - D Major (2009)

What sets Kaiser apart, besides being the stunning interpreter that he is, is exactly the fact that he is not afraid to dig where no man has dug before, and his recording projects always bring surprises to the listener. Sometimes, the works he unearths are not unquestionably great, but never mind, they deserve to be heard. And to all of these forgotten compositions Kaiser applies the same winning combination of polished skills and overflowing enthusiasm, establishing a new standard for this repertoire.

Take the present CD, featuring flute concertos by Ignaz Holzbauer (Kaiser's second foray into the composer's aeuvre, the first being a Camerata Köln recording of Holzbauer's chamber works). Granted, Holzbauer is not exactly a household name today, but while he was alive he achieved good positions, and was a respected name in Europe. The son of a Viennese leather merchant, Holzbauer was trained in singing, piano, violin, and cello, and was basically self-taught in composition. He traveled extensively, and worked in Ljubljana (for the Count Thurn-Valsassina of Laibach), in Moravia (at the court of Count Rottal of Holesov), in Vienna, in Stuttgart, and in Mannheim. In fact, he is one of the exponents of the famous Mannheim School.

His output is quite impressive and made up of good music, very finely crafted, not exactly staggeringly original, but rich, elegant, fresh--the kind of writing that is usually more fun to play than to listen to. Kaiser and La Stagione Frankfurt sink their teeth in these concertos, and make them sound bright, lively, melancholic, intense, soulful, and energetic, as the mood requires. In the passages where the flute has cadenzas, or at least some freedom from the orchestral texture, Kaiser infuses the lines with sensuality or virtuosic gestures, which bring the music closer to the Classical style, even though the Quantz flute he chose for this CD has a round "Baroque" tone--contrary to many "period" flutists, Kaiser is not afraid to sound admittedly woody, and does not try to emulate a modern flute. The ensemble provides the perfect counterpart for the soloist's flights of fancy, with a large dynamic scope, supple rhythmic drive, and very crisp articulations. Overall, the sound is so luscious that it takes the mind a while to get around the idea that this is actually only a chamber group (10 musicians, that's all!). The result of this felicitous combination is music that is permeated with color and flexibility, and which creates a vivid image, one that stays with the listener long after the tunes have faded.