Recordings

Habañera

Judith Hall (flute)
Tim Walker (guitar)

1 Entr'acte - Ibert
2 Pièce en forme de Habañera - Ravel
3 La Romanesca - Sor
4 Andaluza - Spanish Dance no. 5 - Granados
5-7 Sonatina op. 205 - Castelnuovo-Tedesco
8-9 Serenata al Alba del Dia - Rodrigo
10 Distribuiçao de Flores - Villa-Lobos
11 Bachianas Brasileiras No. 5 (Cantilena) - Villa-Lobos
12 Flute Flight - Villa-Lobos/Walker
13 - 15 Trois Esquisses, Allegro rnoderato - Schlosberg
16 Bordel 1900 - Piazzolla
17 Nightclub 1960 - Piazzolla
18 El Pano Maruno - Williams
19 Bolera Sevillanos - Williams

"This is by no means the first recording of Ibert's Entr'acte by a flute/guitar duo but it is the first to enter the Gramophone CD Catalogue, and the same applies to Castelnuovo-Tedesco's lengthy Sonatina—but not to Villa-Lobos's Distribuicao de flores. The kneejerk repetition of these and, elsewhere, other items is, however, usually occasioned by paucity of imagination, rather than of repertory. The pieces by Sor and Rodrigo (their only ones for this combination, and with no other listed recording) modestly make the point, as do the two movements from Piazzolla's L'Histoire du Tango—which may one day become another staple of the repertory but of which, conciseness not being Piazzolla's strong suit, two out of the four movements are enough. Piazzolla has shown that the tango is a flexible medium, but not infinitely so. Benoit Schlosberg is a guitarist, which ensures that the instrument plays more than a minor role in his three entertaining sketches. The arranged items by Ravel and Granados are, too, well chosen in that they work well. If the settings of Hispanic folk songs (originally for two guitars) by Len Williams, father of the more famous John, sound (and are) simple, I well remember the late-night sessions in the 1950s in which they were tried out and polished, though I no longer recollect where he found the tunes. Following in the footsteps of Gounod, Timothy Walker has added a melodic line to someone else's piece in arpeggios, in this case the Study No. I of Villa-Lobos; if V-L had thought of doing it, I'm sure he wouid have written something very much like this—or would have been pretty pleased with what Walker has done. Judith Hall, no shrinking violet, is a first-class, full-sounding flautist, and Walker matches her every step in this well-drilled (which does not infer inflexibility) and spirited duo. Imbalance, dully careful performances, and thrombosis of the repertoire often cast their shadows over flute/guitar duos, but not over this one."
© John Duarte - Gramophone

Vivaldi: Flute Concertos

Judith Hall (flute)
Divertimenti of London, Paul Barritt

Concerto no.1 in F, RV433 "La tempesta di mare"
Concerto no.2 in G minor, RV439 "La notte"
Concerto no.3 in D, RV428 "Il Gardellino"
Concerto no.4 in G, RV435
Concerto no.5 in F, RV434
Concerto no.6 in G, RV437

"freshly and brightly recorded, and (Judith Hall) plays with considerable virtuosity and a great deal of taste....plenty of sensitivity and atmosphere about the performances ... The Divertimenti of London is a modern instrument group and players are both sensitive and alert"
© Penguin Guide ***

"this disc has instantly become one of my favourite Vivaldi CDs. the choices of tempi are just right..fresh and bright and clean in sound and balance...also applies to the vitality and 'authenticity' of the approach"
Music Web International

"..unassuming virtuosity..It is this integrity with a natural musicianship that makes her playing such a delight" "an engagingly light-hearted, light-footed and sensitive approach to the music ..lovingly played ... the recorded sound is first rate"
© Gramophone

Images and Impressions

Judith Hall (flute) and Elinor Bennett (harp)

Alwyn: Naiades
Debussy: Le Petit Berger (transcription: J. Durand)
Debussy: Arabesque (transcription: H. Renié)
Persichetti: Serenade No. 10
Nielsen: The Fog is Lifting
Debussy: Syrinx
Anthony Payne: A 1940's Childhood
Tournier: Vers la source dans le bois
Jolivet: Alla Rustica

"There is no more intoxicatingly sensual an instrumental combination than flute and harp, as this enchanting recital from Judith Hall and Elinor Bennett amply demonstrates. Opening with a spellbinding performance of Alwyn's Naiades, perfectly complemented by Nimbus' atmospheric recording and the pair of exquisite Debussy transcriptions which follow, I was able to put my Beckmesser slate safely to one side and listen captivated by the rest of the programme......Hall's sensitive and memorably-phrased readings......this is clearly a most desirable collection. Highly recommended. "
CD Review ***

"Judith Hall and Elinor Bennett play beautifully. Hall has a big, rich tone: her 'Syrinx' is a joy"
Fanfare (USA)

"..we can see that the Hall-Bennett recording has more than one string to its..-.harp to attract the enthusiast, and to fill him or her with pleasure - and of the best kind!"
Repertoire (France)

"I was really able to enjoy this CD. Hall and Bennett have at their disposal a wide arsenal of technical and interpretative possibilities. In comparison with many other duos, mostly lady duos, even the programme they offer is quite original. Moreover we don't just hear transcriptions but also a couple of pieces especially written for this combination. The ladies quite nicely circumvent any association with comparable sugary CDs through their no-nonsense musical approach"
Luister (Holland)

Mozart: Flute Quartets

Judith Hall (flute)
Paul Barritt (violin), Josephine Horder (cello), Gustav Clarkson (viola)

Flute Quartet no.1 in D, K288
Flute Quartet no.2 in G, K285a
Flute Quartet no.3 in C, K285b
Flute Quartet no.4 in A, K298

"Building a Library" Top Choice (BBC Radio 3)
During 1989, fifth place in list of Best-selling Classical CDs in Britain

"Players on this disc ...a very capable group. Ensemble is impeccable, intonation secure ...pleasantly graceful touches...New disc is well done and in superior recorded sound"
© Gramophone

"fine playing that is intelligent, sensitive and invariably placed at the service of these (quartets)..The performance on this record cannot be faulted"
Music and Musicians"

"..distinguished performances ...grace and lightness is well caught"
Hi-Fi News and Record Review

Early One Morning

French Music for flute & harp

Judith Hall (flute)
Hugh Webb (harp)

Ibert: Entr'acte
Saint-Saëns: Romance op.37
Françaix: Cinque Piccoli Duetti
Jongen: Danse Lente
Ravel: Pièce en forme de Habañera
Fauré: Berceuse
Honegger: Romance
Debussy: La plus que lente; Clair de Lune, La Fille aux Cheveux de Lin, Arabesque No. 1
Satie arr. Takemitsu: Les Fils des Etoiles
Roussel: Aria
Damase: Variations on Early one Morning

Judith Hall and her highly accomplished and sensitive partner provide fresh and lively interpretations of this eclectic choice of repertoire. Hall has a wonderfully varied tone that is consistently beautiful across the flute's range. There is something extremely relaxing about the effortless way in which she plays. I have certainly never heard such mellifluous playing as in the tracks of pieces by Jongen, Debussy and Damase.
It is also pleasing to hear the music with harp instead of the traditional piano, as it is much more suited to the temperament of this music.
Few could fail to be inspired by this dynamic duo's rendering of this French repertoire. The opening and concluding tracks leave no doubt as to why Judith Hall has enjoyed such a glittering career or to why Jean-Pierre Rampal plucked her out and suggested she pursue a musical career."
PAN The Journal of the British Flute Society

"Whether late-Romantic, Impressionist or neo-Classical, there is something about the Gallic muse that suits both the flute and harp to perfection, as is exemplified in a spellbinding recital by Judith Hall and her long-time musical partner Hugh Webb entitled 'Early One Morning' (from the Damase set of variations that closes the programme). Hall not only produces a seamless, intonationally impeccable stream of golden sound, she seems immune to breathing noise of any kind. .... Both bring rare enchantment to a ravishing programme that ranges from the relatively familiar (Fauré's Berceuse and Ravel's Habañera) to the rarer delights of Françaix's Cinque Piccoli Duetti, Ibert's Entr'acte and Jongen's Danse Lente."
International Record Review September 2005