PAUL LUSTIG DUNKEL

• Debussy: Cello Sonata [arr. for flute by Paul Dunkel]

“[Paul Lustig Dunkel] is clearly a questing soul, and while the flute repertoire is itself not as limited as some, he thinks nothing of plundering other instruments’ masterpieces for his instrument. The first recital, though, Live in Recital, opens with a beautifully considered rendering of the Partita, BWV1013... The recording is perfectly in perspective, and thus, blissfully, is not too close... the whole aura of [Debussy's Cello Sonata] piece shifts to a lighter region when heard on flute, but there is no doubting the affection of this performance. Pianist Peter Basquin is the perfect accompanist, his tone well judged and light, his chords often exquisitely weighted, and yet he cedes to his soloist and follows like a shadow. The ensemble at the beginning of the Sérénade is fabulous, as is the somewhat ecstatic feel to the finale, a last movement here imbued also with a terrific lightness... The performance [of Dal Dosai] is deliciously delivered... Dunkel’s playing [in the Briccialdi] is simply miraculous; the piano part swings between simple accompaniments (always sensitively rendered by Basquin) and more taxing but always brief outbursts... Tremendous stuff... What comes across most strongly is Dunkel’s unfailing enthusiasm, be it as arranger or as performer.”

Colin Clarke, Fanfare [November/December 2016]

"I admire the courage to release an unadulterated recital like this...the raw power of the performance, the audible joy of sharing great music, and the sound of a receptive audience...give us a truly rewarding experience...Bravo.”

American Record Guide [September / October 2007]

"Dunkel's transcription of [the Debussy] almost makes it sound as it if was originally conceived for the flute... Dunkel dispenses [the virtuosic Briccialdi] with no apparent effort."

Gramophone [October 2007]

From Paul Dunkel: "My first flute teacher, Robert Di Domenica introduced the Bach Partita to me when I was fourteen years old. I studied it with William Kincaid and Samual Baron. Each had different ideas about it - all correct! – proving a masterpiece can withstand varying interpretations. It's a piece with unlimited possibilities. For many years I was a member of Speculum Musicae, a contemporary music group. Some concerts would open with the Debussy Cello Sonata brilliantly performed by Fred Sherry. Not that the solo flute repertoire is lacking, but I was so envious. It took me 30 years to finally transcribe the sonata for the flute. I think "Syrinx" would fit the cello nicely. Robert di Domencia is also a fine composer. His flute sonata (dedicated to Harold Bennett, his flute teacher) was one of the first contemporary pieces I learned. It is composed in rigorous twelve-tone technique yet is lyrical and romantic, like the music of the second Viennese school that influenced the composer. I came across Matthew van Brink when I judged a competition of young composers. He sent me Dal Dosai which I believe is one of the best sonatas written for flute and piano in recent years. Matt has been influenced by many types of music, and his eclectic taste is evident in this vibrant and challenging opus. Flutists know Briccialdi for his prodigious etudes and virtuoso showpieces. Ballabile (originally with orchestral accompaniment) is another in that tradition. Peter Basquin and I played this at the Newport Music Festival in 1969. The flute part hasn't gotten any easier."


Paul Lustig Dunkel demonstrated his musical abilities at the age of eight soon after his mother dragged him kicking and screaming to his first piano lesson. Two years later, at the encouragement of his piano teacher, he took up the flute under the tutelage of Robert di Domencia. While at Queens College (CUNY) he continued his flute studies with William Kincaid and Samuel Baron and piano with Anka Bernstein Landau. Following graduation Mr. Dunkel was active in New York City's freelance world while pursuing an advanced degree at Columbia University. He was principal flute of the American Symphony Orchestra, the Brooklyn Philharmonic, the American Composers Orchestra and Musica Aeterna as well as a member of Speculum Musicae and the Contemporary Chamber Ensemble. He also participated in the Marlboro, Spoleto, Aspen and Stratford music festivals. Mr. Dunkel turned his attention to the podium in the 1980's and has since conducted the American Composers Orchestra, the Orchestra of St. Luke’s, the Brooklyn Philharmonic and the Denver Chamber Orchestra. He has been the Music Director of the Westchester Philharmonic since 1983 and commissioned Melinda Wagner's Flute Concerto (winner of the Pulitzer Prize) for the orchestra's 50th anniversary in 1998.

Peter Basquin won the Montreal International Piano Competition and has made regular appearances at Lincoln Center, the Kennedy Center and Carnegie Hall. His principal teachers were William Nelson (Carleton College) and Dora Zaslavsky (Manhattan School of Music). He has been a soloist with the Boston Symphony, Minnesota Orchestra and the Montreal, Quebec and American Symphony Orchestras. He has performed under Michael Tilson Thomas, Gunther Schuller, Dennis Russell Davies and Paul Dunkel. His performances can be heard on the Argo, CRI, Peters International, Grenadilla and New World labels. Mr. Basquin tours with the Aeolian Chamber Players, and has been a professor of music at Hunter College (CUNY). He is a faculty/artist member of the Bowdoin Summer Music Festival and the pianist of the American Composers Orchestra. JOHANN SEBASTIAN BACH
Partita in A minor, BWV 1013

CLAUDE DEBUSSY
Cello Sonata
[Transcribed for Flute by Paul Lustig Dunkel]

MATTHEW VAN BRINK
Dal Dosai - Sonata for Flute and Piano (2001)
[New York Premiere]

ROBERT DI DOMENICA
Flute Sonata

GIULIO BRICCIALDI
Ballabile di Concerto



MSR Classics