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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 with
the 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 worlds 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 a
gifted artist. [Pahuds] virtues: musical grace, technical assurance and, most striking of all, a tone at once
plangent and warm.
The Washington Post
A stellar artist of impeccable technique and refined musicianship. Prokofievs Sonata in D Major Op. 94
was played with voluptuous sonority, poignant feeling and attention to dramatic detail...
The Cleveland Plain Dealer
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 the
sublime.
The Baltimore Sun
one of todays most dazzling interpreters of the 20th-century flute repertoire.
BBC Music Magazine
In [Mozarts] Concerto for flute and harp as well as the solo concerto Pahud makes a dazzling impression, with
his lightness and agility. His delicate pointing of rhythm and phrase in slow movements reveals a most
imaginative artist.
Gramophone
One doesnt know what to admire most in this flautist: the musical intelligence, the finesse, the sumptuous
sound or the multitude of colors. Not to mention his superior technique and the fullness of sound in every range.
[Pahuds C.P.E. Bach, Ferroud, Faur, Ferneyhough, Prokofiev for EMI is] a record that we would like to
nominate 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 ORiordan, 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, rather
than standing isolated out front.
James Harper, Courier Mail, 13 July 2005
Vivaldi/Brett Dean/Australian Chamber Orchestra/Concert Hall Brisbane
Flautist Emmanuel Pahudproduced a golden stream of sound from his 14-carat golden flute. There was not a
hint 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 Australian, 8 July 2005
Vivaldi/Brett Dean/Australian Chamber Orchestra/Concert Hall Perth
Pahud brings shapely sound to light and dark programme
Pahuds 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 Morning Herald, 4 July 2005
Vivaldi/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 slow
movements 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 Debussys greatest hit, Prlude laprs midi dun faune, a well-judged account hoisted
above 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 brilliant
style and sound colours.
Julia Waldstein, TZ, 14 March 2005
Kagel/Sciarrino/Mnchen 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 Haitinks every gesture.
Hugh Canning, The Sunday Times, 3 October 2004
Mahler Symphony No.3/Berlin Philharmonic/Bernard Haitink/Barbican Centre
the nearest thing weve 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 stylish
approach 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, Courier Mail, 21 July 2003
Pahuds performance was exemplary: his control is consummate. Pahud played Leclairs Concerto in C, Op.7,
NO.3 with a rich sound which embodied not only the finely grained smoothness he elicits from his golden flute
and 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 a
commanding soloist, and mastered the brisk cascading runs and flowing legato lines with consummate ease.
Murray Black, The Australian, 14 July 2003

Mandel Hall threw together one of those concerts that audiences will still be talking about years laterHis
[Emmanuel Pahud] playing was vibrantly resonant, full of rich, golden tone, sumptuous colour and power to
spare..Pahud and Dufour are among their generations 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 the
Queen of the Nights terrifyingly ornamented aria like thoroughbreds.
Wynne Delacoma, Chicago magazine, 19 February 2003
Pahuds big, bright, almost vibrato-free tone managed to project over the orchestraplayed the slow
movement with supple grace and played a dexterous finale.
Michael Anthony, Star Tribune, 24 January 2003
Iberts Concerto for Flute and Orchestra with the Minnesota Orchestra/Vanska
Throughout Jacques Iberts 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 fewhe
produced a low, bluesy, strong tone. Pahud took the leaps, skips and flurries in the third movements cadenza
with ease.
Joan Oliver Goldsmith, St. Paul Pioneer press, 23 January 2003
Iberts 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 Mozarts Andante in C (K
315). Mr Pahud offered an entrancing account of Debussys 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 was
there 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[Pahuds] 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 Iberts fluffy Flute Concerto (1933) were crisply served by Emmanuel
Pahuds big, brilliant tone..."
Sedgwick Clark, MusicalAmerica.com, February 2002
Ibert Concerto, Barcelona SO/Lawrence Foster, Carnegie Hall, February 2002
Iberts Flute Concertowas 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 2002
Ibert Concerto, Barcelona SO/Lawrence Foster, Carnegie Hall, February 2002
lustrous tone and an abundance of flair
Steven Cornelius, The Toledo Blade, 30 Mar 2001
Recital with Eric Le Sage, Bowling Green State University, March 2001
The smallest scale item, Mozarts Flute Concerto No.1, made a very large impression, thanks to the soloist
Emmanuel PahudWith 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 the
sublime.
Tim Smith, The Baltimore Sun, 9 February 2002
Mozart Concerto No.1, Baltimore SO/Emmanuel Krivine, February 2002
an unimaginable flautist, as marvelous a musician as he is an accomplished virtuoso, already considered by
music 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 interpretation
combining 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 Auditorium
Orchestre 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 1999
Chamber 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 Mozarts Flute Concerto No.2 he captured all the wit and operatic sparkle of this
work 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 1999
Mozart 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 and
savor 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
Pahuds 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 Schuberts 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."
Frnkisches Volksblatt - 1994
"An exemplary soloist, with a beautifully round and powerful sound."
Frankfurter Allgemeine 1994
"Cultured elegance, stylish phrasing, an outstanding presence... "
Berliner Morgenpost 1994
"Emmanuel Pahud possesses not only brilliant technique and perfect breath control, but also communicates the
spiritual breadth and perfection of the music. He already belongs among the masters of his instrument."
Stuttgarter Nachrichten - 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.
Il Corriere del Ticino 1992
"Inspired and convincing, Emmanuel Pahud was perfect."
"A superb flute soloist."

La Repubblica - 1992
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 Pahuds exquisitely pure sound floats in and out the the music rolling textures as thought
it was the most natural thing in the world
Julian Haylock, BBC Music Magazine, March 2007
Brahms, Clarinet Sonatas, Op.120 (arr flute) BBC music Direct

Emmanual Pahud is a masterly flautist, a genuine star amoung EMIs contracted intrumentalists. He
plays with exquisite insouciance at the enticing opening of the E flat major First Sonata, and is equally
captivating 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 Pahuds standard doesnt surface every day; and the discs third work, the Undine
sonata by Carl Rienecke, a genuine flute sonata from the 1880s is an idiomatic delight. Pahuds
musicianship is unassailable; and star power is star power.
Geoff Brown, The Times, Friday 26 January 2007
Brahms/Reinecke, EMI Classics

Pahuds performances are natural and convincing, yet at the same time subtly stylish in matters of
ornamentation, articulation and rhythm A disc to give nothing but pleasure
Lindsey Kemp, Gramophone Magazine, June 2006
Six Flute Concertos Op10 (RV429;RV440)

The chamber players young, French, and devilishly gifted include the Capuon brothers,
Emmanuel Pahud, and Frank Barley. The scores lyrical beauties loom just as large as its wit.
Whatever your age, from whatever angle you look, this albums a tonic.
Geoff Brown, The Times, 31 October 2003
Saint-Sans/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 2003
Debussy: Pelleas Suite/Prelude a lapres-midi dun faune, 3 nocturnes, Berlin Phil./Abbado (DG 471 332-2)

Listen to the flute solo by Emmanuel Pahud which begins the Prelude a lapres-midi dun faune
here is noonday sensuality super-plus
Michael Kennedy, The Telegraph, 16 February 2003
Debussy: Pelleas Suite/Prelude a lapres-midi dun 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 Pahudsexquisitely hushed playing finds a
mystery and tenderness in the hypnotic, Satie-like melody.[In the Ibert concerto] what sets Pahuds
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 (arr. Rampal) and Ibert Flute Concertos with Zurich Tonhalle (EMI 5 57563 2)
[Khachaturian concerto] It was worth the waitHe plays with an obvious relish for the freeflowing
flurry of sparkling, tune-filled ideas. In both the Ibert concerto and miniature Pice for solo flute, he is
less 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 movement
for Pahud at his best.
Oliver Condy, Classic FM, October 2003

Khachaturian (arr. Rampal) and Ibert Flute Concertos with Zurich Tonhalle (EMI 5 57563 2)
[In the Khachaturian] Pahuds pace gives the piece a dramatic grandeur; the power of his lower
register ensures hes never drowned out (not so most other flautists, even with the best sound engineer
in tow).a chamber like intimacy to the Andantes Armenian chromaticisms as well as a sense of
entertainment to the melody-filled final Allegrofor his sheer mastery of his instrument his cadenza
reigns supreme; his top notes never buzz but also because his performance of Iberts Flute Concerto
is in another league, revealing a charismatic artist whose exuberance intensifies rather than stultifies
the Concertos 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 Telemanns gestural implications and ability to colour the
music at every turn which makes Pahuds playing so enchanting in all five concertos The Flute
Concerto in D confirms everything about Pahuds exquisite taste and mesmerising sound. A real
winner.
Jonathan Freeman-Attwood, Gramophone Magazine, December 2002

Emmanuel Pahud and the Berliner Barock Solisten have Telemanns concerti quite perfectly sussed
fluid, gracious, almost vocal decorations and nuances set against the compelling sweep of the
ensembles 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 artists 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 CDs real prize is the unaccompanied Partita in A minor (BWV 1013). Here, one can appreciate
fully the flutists 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 Pahuds purity of sound and freedom of musical line make him a natural for the Baroque
repertoire.
Ken Smith, The Newark Star-Ledger, 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 fine
Bach playing, to be wholeheartedly recommended.
Gramophone Magazine, March 2001

Recital CD with Stephen Kovacewich and Katarina Karnus (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 Pahuds range of tone color is amazing no one
listening 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 Madcasses, Pahud gets closer
than 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 Emmanuel
Pahud. Whether playing solo or in tandem () Pahuds 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 range
of 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 Prokofievs Flute Sonata and Debussys Syrinx, hes
also proved himself to be a stylish chamber performer when accompanying the voice Prokofievs
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 into
feyness his performance of Prokofievs 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 Mozarts 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 such
rivals 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.
American 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)


Pahuds brilliant and sensitive performances are outstanding exhilarating intense mysteriously
atmospheric 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. Pahuds supple, mellifluous playing. His articulation is astonishingly crisp,
his tone pellucid
The New York Times

Emmanuel Pahud is a stunning flautist; an extremely accomplished technician negotiating even the
most tortuous passage work with deceptive ease, and with an incredible range of tone colour to mold
his exquisitely fluid phrasing into a thing of beauty.
Classic CD

I havent 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.
American 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 Free 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 Morning News

Mozart Flute Concertos CD (EMI 5 56365 2)


Pahudis a natural soloist, pointing phrases and rhythms with poetic individuality, never just a
conformist 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.
Frankfurter Allgemeine 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 persuasive
duo, 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 Irish Times, May 1998

Pahud and Le Sage shape and articulate each variation [Schubert] with infectious enthusiasm they
invest [Webers 6 Progressive Sonatas] with a full complement of tonal and dynamic variety. A
delightful compilation.
Barbara Hammond, Classic CD, May 1998

Emmanuel Pahud gives performances it would be hard 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 pure
instrumental beauty and an ideal feeling for the music keep us constantly in suspense. Dont miss any
of his recordings!
Diapason

FLTENMUSIK (MGB CD 6107)


C.P.E. Bach, Ferroud, Faur, Ferneyhough, Prokofiev
One doesn't know what to admire most in this flautist: the musical intelligence, the finesse, the
sumptuous 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't
know 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 every
range! .... 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 gold


BY 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, Mozart
and Prokofiev set a gold standard with these four golden classics.
In Robert Schumanns Three Romances, Pahuds 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 didnt 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 didnt hold back; because of Pahuds potent tone, he was
able to give full weight to the keyboards knuckle-busting role.
Their way with Mozarts Sonata No. 21 in E minor (originally for violin) brought out the crystalline clarity of Mozarts
magical textures with deft precision and lightness, especially in the Minuets rolling lines of fulsome melodies and
oddball departures from the template, which included a sudden chromatic solo cadenza in the piano and plunging low
notes for the flute. Then the duo launched into one of the flute repertoires original tour-de-force masterpieces, Sergei
Prokofievs 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 where
the 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 movements 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 hilarious
hocus-pocus. Pahud and Bronfman couldnt have been more gleaming in their bejeweled performance.

EMMANUEL PAHUD
ClassicalSouce.com August 22, 2011

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


& Prokofiev
BY BEN HOGWOOD

This was Emmanuel Pahuds second visit to BBC Proms this year, following on from concerto performances of music
by Elliott Carter and Marc-Andr Dalbavie. This recitals theme was the 1940s, three works for flute and piano
completed 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 sunny
disposition, indicative of a composer enjoying his summer holiday in Cape Cod. The colourful, blues-inflected
harmony of Le Sages introduction sat well with Pahuds long-breathed legato and chirpy staccato passages. The
sweetly 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, Pahuds 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 might
complete a Flute Concerto before the age of 150 (the composer is now 95). The seemingly age-less Dutilleux did
however 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 movement
as 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 the
faster music gave it real cut and thrust.
Thanks largely to David Oistrakhs endeavours, Prokofievs Flute Sonata is now better known as the composers
Second 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 the
expressive qualities of the flutes lower range, while the second theme of the first movement, with its composers
characteristic 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 Prokofievs balletic sleights of hand. As a generous encore
was a florid account of Faurs 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 concert


BY TIMOTHY MCDONALD

CHRIS OBERHOLTZ
Flutist 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 nights concert at the Lyric Theatre was a case in point. From the opening upward sweep in the violins during
the first measures of Rossinis Overture to La scala di seta, you could tell from the precision that Stern had
rehearsed them.
The remainder of the work was delightful, with satisfying crescendos and a striking sense of ensemble. Oboist Mingjia
Liu and flutist Michael Gordon were particularly impressive with their solo lines.

Emmanuel Pahud
The Kansas City Star February 21, 2010
page 2 of 2

Stern and the Symphony served up Beethovens 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 and
the dancelike second theme.
The sprightly second movement was followed by the minuet with a pronounced Austro-German bounce. The finale
seemed infused with a sort of primal energy but also exhibited some finely nuanced detail.
Fridays concert was the premiere of Italian composer Luca Lombardis 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 the
opening, with a three-note flute figure echoed by the strings.
Lombardis music was tonal and filled with all sorts of fascinating colors and creative instrumental techniques.
In the final movement, the audience started applauding after final percussive orchestral chords. Pahud had the last
laugh, however, with a breathy final flourish.
The flutist encored with an excerpt from Bizets Carmen, displaying marvelous tone, particularly in the beautiful
opening section with harpist Deborah Wells Clark.
A dramatic and exciting rendition of Tchaikovskys Francesca di Rimini concluded the evening.

Emmanuel Pahud
Baltimore Sun May 5, 2009

Brilliant baroque concert with Pahud, Pinnock, Manson at Shriver


Hall
BY TIM SMITH

The Shriver Hall Concert Series wrapped up its subscription series Sunday night with a splash of brilliant baroque
featuring the Berlin Philharmonic's principal flutist, Swiss-born Emmanuel Pahud; eminent English harpsichordist and
conductor 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 flutist
with a mix of technical elan and expressive finesse (he also recovered neatly from two crises in the Sonata No. 2 -- a
sticking 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, Pinnock
offered 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 G
major 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 the
Discovery 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.

Emmanuel Pahud
New York Times May 1, 2009

Touring the Baroque on the Wings of a Flute


BY 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 Bachs flute sonatas
with remarkable tone and technical finesse, ably accompanied by two stellar colleagues: the harpsichordist Trevor
Pinnock and the cellist Jonathan Manson.
The program was framed by Bachs 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, rendering
the elaborate passages with flair. His soaring melodies shimmered over the continuo lines of the cello and harpsichord.
Bachs Flute Sonatas in B minor (BWV 1030) and in E flat (BWV 1031) highlight the emergence of the duo sonata, in
which the cello continuo of the Baroque trio was eliminated and replaced with a more equal partnership between flute
and 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.

Emmanuel Pahud
New York Times May 1, 2009
page 2 of 2
Bach was initially passed over for a prominent position in Leipzig in favor of Telemann, who was inspired by Bachs
flute 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 in
the sparkling Presto.
Mr. Pinnock, a pioneer in the modern early-music movement, offered an imaginative and expressive performance of
Purcells 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.
Bachs cello suites, probably intended as technical studies, languished in obscurity until Pablo Casals played them early
in 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.