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Michala Petri and Elisabet Selin
Axel Borup-Jørgensen (1924-2012)
Recorder music by Axel Borup-Jørgensen
Fantastic review in US Magazine Fanfare on Recorder Music by Axel Borup-Jørgensen
Fanfare Magazine
13 March 2014
Any idea that a disc of recorder music is going to be gentle and filled with happy pipings is instantly contradicted by the overtly Modernist drum poundings that open Periphrasis (1977, revised 1993–94), which arrive like so much thunder. It comes as no surprise to learn that Axel Borup-Jørgensen (1924–2012) attended Darmstadt, first in 1959, returning in 1962. It is scored for recorder and percussion; the percussion writing is virtuosic (as is the performance in this recording); the instruments interact with and react to the recorder's likewise virtuosic statements. If the recorder has a chalumeau register, it is this which is on display in the later parts of the piece (around seven and a half minutes in). Michala Petri, surely the world's best-known (and loved) recorder player, demonstrates not only virtuosity but a true understanding of idiom.
Elisabet Selin, a name new to me and in fact the composer's daughter (and student of Michala Petri), is clearly of an equivalent level of virtuosity and musicality. Written for solo tenor recorder, Nachtstück (1967) is an intriguing meditation. It comes as no surprise to encounter multiphonics in this music; the surprise is that they are so convincingly rendered. There are even attempts at counterpoint. The result is remarkable, and caught in a vivid recording.
The shrill monodic adventures of the solo sopranino recorder (Petri) shape Architraves (1977). The reference to birds is visceral, and quite unlike Messiaen—a sort of mid-stage between birdsong proper and what Messiaen might have done with it perhaps, or a first-step transmogrification. Whatever, it remains on the tightrope between delightful and demanding. Our avian friends return in Birds Concert (1985), where Petri is once more at her most charming.
The arrival of the harpsichord is like listening to shards of glass: This particular harpsichord is a very forceful instrument, and is recorded viscerally in Zwiegerspräch of 1988–89. Here it is the sopranino recorder of Selin that complements the harpsichord with its shrillness. At only just over five minutes, the work feels too short (although it is relentless).The Fantasia of 1975 (revised 1986–88) for sopranino recorder (Selin) and harpsichord is the longest piece on the disc. The stamina of the players is truly remarkable, perhaps mostly in terms of sheer concentration. The intensity does not flag for a second. The solo recorder flights are remarkable in their inspiration; the harpsichord's antics are hardly less impressive. The ending is cheeky and teasing.
Written in 2011, Pergolato is for treble recorder, a five-minute lament delivered eloquently by Petri. The Notenbüchlein (as it is given on the back cover; in the notes it is Notenbüchlein für Anna Elisabeth) of 1977–78 is an exploratory piece whose solo melody (Selin), while not quite as melancholic as Pergolato, nevertheless speaks of questing, of searching.
A remarkable disc, stunningly performed and well recorded. Colin Clarke, Fanfare May/June issue 2014

Fanfare Magazine

Michala Petri and Elisabet Selin
Axel Borup-Jørgensen (1924-2012)
Recorder music by Axel Borup-Jørgensen
Overwhelming review on Recorder Music by Axel Borup-Jørgensen in Klassik Heute
Klassik Heute Magazine
06 March 2014
Klassik Heute
Recorder Music by Axel Borup-Jørgensen
Wertung: 10 / 10 / 10


Der dänische Komponist und Pianist Axel Borup-Jørgensen (1924-2012) war einer der großen, stillen Individualisten Skandinaviens im 20. Jahrhundert. In Dänemark geboren und in Schweden aufgewachsen, erhielt er seine Ausbildung an der Königlichen Musikakademie in Kopenhagen. Obwohl als Komponist weitgehend Autodidakt, zählte er 1959 zu den ersten dänischen Komponisten, die die Darmstädter Ferienkurse für Neue Musik besuchten. Wolfgang Fortner ermutigte den jungen Musiker, den eingeschlagenen Weg fortzusetzen. Ohne Zweifel übte die Avantgarde der Sechzigerjahre einen starken Einfluss auf Borup-Jørgensens Klangwelt aus, jedoch komponierte er nie streng seriell, sondern ließ sich in seiner kompositorischen Arbeit stets von Intuition und seinem außerordentlichen Klangsinn leiten. Borup-Jørgensens handschriftliche Partituren von geradezu kalligraphischer Qualität und Schönheit verraten den ausgesprochenen Klang-Tüftler und Magier der Farben. Seine Musik kennt feinste melodische Verästelungen ebenso wie zupackende, dramatische Eruptionen, so etwa in seinem orchestralen Hauptwerk Marin (1970) oder Musica autumnalis (1977). Der weit überwiegende Teil seines Schaffens ist der Kammermusik gewidmet. Hier genoss er die Freiheit und Inspiration, eng mit seinen Interpreten zusammenzuarbeiten und neue klangliche Möglichkeiten der Instrumente erforschen und erproben zu können.
Dass die Blockflöte in Axel Borup-Jørgensens Werkliste eine nicht unwesentliche Stellung einnimmt, verdanken wir seiner Begegnung (und lebenslangen Freundschaft) mit der dänischen Blockflötenvirtuosin Michala Petri und seiner Tochter Elisabet Selin, für die er zahlreiche anspruchsvolle Kompositionen geschaffen hat.
Diese ausgesprochen sorgfältig edierte, musikalisch, klanglich und nicht zuletzt auch optisch exzellente Produktion seiner (fast kompletten) Blockflötenmusik beleuchtet einen Zeitraum von fast dreißig Jahren – von seinen ersten Versuchen mit dem Instrument Mitte der Siebziger Jahre bis hin zu Pergolato, der etwas mehr als ein Jahr vor seinem Tod entstandenen letzten Komposition des damals 86-Jährigen.
Authentischer und kompetenter könnte die Wiedergabe nicht sein: Eben jene Spielerinnen, die sein Interesse am Instrument geweckt hatten und mit denen er in der Folge auf das Engste zusammenarbeitete, sind auf der Aufnahme zu hören. Borup-Jørgensens auffallende Affinität zu den hohen Instrumenten der Blockflötenfamilie und ihrem der Frauenstimme ähnlichen wie auch dem Vogelgesang verwandten Klang macht es nicht leicht, die Werke dramaturgisch so geschickt und abwechslungsreich anzuordnen wie man es etwa von einem Konzertprogramm erwarten würde. Die CD ist offensichtlich auch eher „enzyklopädisch" gedacht – als Referenzsammlung seiner Blockflötenwerke.
Periphrasis (1977 ursprünglich für Flöte und Schlagzeug komponiert und in den Neunziger Jahren für Blockflöte adaptiert) firmiert als fulminanter Auftakt. Im dialogischen Spiel fungiert die Blockflöte häufig als ruhender Pol im faszinierenden Klangfarbenkaleidoskop des Perkussionsappartes, der subtil mit den vier wechselnden Blockflöten (von Sopranino bis Tenor) interagiert. In welchem Maße sich Borup-Jørgensen in die Idiomatik des Instrumentes eingehört und –gedacht hat, zeigt sich vor allem im für seine Tochter komponierten Tenorflöten-Monolog Nachtstück aus dem Jahr 1987. Hier schafft er einen eigenen Kosmos von äußerster Expressivität der feinen Zwischentöne, der sich aus der Stille ganz allmählich geräuschhaft vortastend zu einer dramatischen Klimax mit blockhaften Akkordklängen steigert, um letztlich zu verstummen. Für mich vielleicht die unmittelbarste und auch formal geschlossenste Komposition der CD. Elisabet Selin realisiert hier nicht allein akribisch die detaillierten Farbnuancierungen der Partitur, sondern gestaltet den Spannungsbogen so zwingend souverän und von einer dramatischen Intensität wie man sie selten hört. Der einzigartige, unverwechselbare Ton Michala Petris prägt Architraves, ein hypnotisches  Solostück für Sopraninoblockflöte. Das über ein Jahrzehnt später entstandene konzise Zwiegespräch knüpft klanglich daran an, erweitert aber die Besetzung mit dem silbrig-hellen Klang des Cembalos und kontrastiert die hohe Blockflöte mit sonoren, koloristischen Clustertexturen. Mitte der Neunziger Jahre entstand Birds Concert für Sopranblockflöte, das u.a. mit verschiedenen Trillern, Vorschlagsnoten und Flatterzungenspiel eine (jahrhundertelange) Tradition von Vogelmusik für das Instrument fortführt. Die 1975 komponierte Fantasia war das erste Werk Borup-Jørgensens, in dem er sich professionell mit der Blockflöte befasste und Ausgangspunkt einer kreativen Entdeckungsreise, die bis zum Ende seines Schaffens anhalten sollte. Wie Zwiegespräch für die Kombination von Sopranino und Cembalo konzipiert (und wie im ersten Falle von Elisabet Selin und ihrer Mutter Ingrid Myrhøj interpretiert), erzeugt das Stück von Beginn an eine gänzlich eigene, mysteriös-gespenstische Klangwelt von großer atmosphärischer Dichte. Der Kreis von Borup-Jørgensens kompositorischem Œuvre schließt sich in Pergolato mit dem weichen, milden Klang der Altblockflöte. Das für seine früheren Stücke so charakteristische hypnotisierende Kreisen, die dramatischen, raumgreifenden Intervallsprünge und abrupten Registerwechsel weichen in Pergolato meditativer Ruhe und lyrischer Melancholie. Wie in einer posthumen Verneigung vor dem großen Künstler und Freund strahlt Michala Petris Spiel hier besondere Würde und Demut aus. Das die CD beschließende Notenbüchlein für Sopranblockflöte solo (1977-79 für seine Tochter Elisabet Selin entstanden und hier auch von ihr gespielt) fasst in Form einer Suite von Miniaturstücken noch einmal kurios die charakteristischen Merkmale von Borup-Jørgensens Blockflötenmusik zusammen. 
OUR Recordings hat mit dieser Produktion (wieder einmal) Maßstäbe gesetzt. Gewiss, Borup-Jørgensens Musik ist keine „leichte Kost", aber sie ist ein gewichtiger Meilenstein der Blockflötenmusik des 20. Jahrhunderts – eine Musik von höchster Individualität und Geradlinigkeit, der man sich nur schwer entziehen kann.

Heinz Braun
(04.03.2014)

Klassik Heute Magazine

Michala Petri and Lars Hannibal
Virtuoso Baroque
Wonderful review in UK Magazine for OLD Music -The Consort -on Virtuoso Baroque
The Consort
06 March 2014
The Consort, UK

The recorder has an ancient and honourable history. Bone flutes survive from Neanderthal context, and a wonderfully preserved set of six flutes from Jiahu in China, some 9.000 years old and made from hollowed wing-bones of the red-crowned crane – each with seven holes carefully tuned to a scale remarkably similar to our Western 8-nate scale – might almost be considered the earliest prototype of the recorder consort.
This recording celebrates Michala's twenty-year collaboration with the distinguished archlutenist Lars Hannibal,- a remarkable achievement. The CD begins with Vitali's Chaconne in G minor, originally composed for the violin, and first brought to the attention of the modern world by the virtuoso violinist and friend of Mendelsohn, Ferdinand David. In his hands the piece was transformed into so improbably romantic a work that its authenticity was in doubt until recently, but it appearance in a Dresden manuscript dating from before 1730 confirms the the work is by Tomaso Vitali (or Vitalino): his imaginative divisions and sometimes surprising harmonic adventures provide us with a captivating introduction to Michala Petri´s programme.
It continues in more conventional recorder territory, with the Sonata in D minor taken from the set of 12 published by Telemann in Der Getreuer Musikmeister; with its gentle opening Affetuoso and joyful final gigue, Telemann provides plenty of scope for the archlute to contribute creatively, especially in the sonata's quierter moments.
Bach's enchanting flute sonata BWV 1033, originally written in C major for traverse flute, is here transposed to F major, and works delightfully well on the recorder; Petri makes light of the usual problem with bachs woodwind music, in that being himself a keyboard player he tends to forget thatthe flautist has occasionally to breathe. This sonata comes downto us in six early manuscripts, including one from 1731 in the handwriting of Bach's son, Carl Philipp Emanuel who, some scolars believe, may have collaborated in the composition of this work.
This is followed by the Sonata in G major RV 58 from Il Pastor Fido, which comes with its own problems of authorship. For more than 200 years the music was attributed to Antonio Vivaldi, but Il Pastor Fido turns out to have been a elaborate forgery on the part Nicalos Chédeville (1705-82), who wishes to give the greater credibility which the more famous composer would afford, to his own efforts. He needn't have worried, his accomplished pieces delightfully evoke the arcadian world of the Amusements Champétres so beloved of the early 18th – century French aristocracy, and Petri here enters perfectly into their pastoral spirit with her sopranino and tenor recorders.
La Folia was a favourite melody throughout Italy, Spain and Portugal, attracting thew imagination of composers as early as 1500s, and the creativity of Lully, Vivaldi and Bach, among many other masters, but Arcangelo Corelli made the piece his own, and his set of 24 variations on the theme, op 5 no 12, originally written for violin, was appropriated by players of many other instruments; the present version for recorder was published in London 1702.
Guiseppe Tartini's Sonata in G minor, Trillo del Diavolo ("The Devil's trill") the composers most famous work, was suppressed during his lifetime, and even the story behind its composition an attempt by Tartini to capture the music played to him in a dream by Satan himself – was not published until after the composer's death. Although only a shadow of what he said he had heard, Tartini considered this work "indeed the best that ever I wrote",- and Michala Petri's sopranino recorder version is an astonishing tour de force.
With Handel's Sonata in B flat major HWV 377, we return to the recorder's more familiar terrain; although this manuscript, from the Fitzwilliam Museum in Cambridge, does not specify instrumentation – and Handel recycled the sonata's three movements in various other directions,- the work lies naturally within the recorder's range, and it has long been embraced by players of the instrument.
This engaging programme explores repertoire far beyond the regions normally inhabited by the baroque recorder, and Michala Petri's fine playing is so sensitively supported by the creative accompaniment of Lars Hannibal that my only regret is that room has not been found on this CD for some solo music for his archlute. Maybe next time? And perhaps, next time a note or two about the players themselves , to go with the excellent information on the music. Margareth Rees, June 2012
The Consort

Kim Sjøgren, violin
Lars Hannibal, guitar
Lalo : Symphonie espagnole
for violin and guitar
Fanfare Review on Lalo
Fanfare Magazine
06 March 2014
Here's a valiant notion carried off with aplomb-singing and soaring against rhythmic point-

…Laolo's snappily inflected lyricism is realized with delicious enjoyment by both artists….

I look forward to hearing from either or both artists again…

Another illustration that it's the music, not the medium – if entrusting the orchestra's part to a guitar seems to be pushing it, less emphatic moments, with the instruments evenly matched, demonstrate that it can succeed triumphantly.

Enthusiastically recommended… Adrian Corleonis
Fanfare Magazine

Kim Sjøgren, violin
Lars Hannibal, guitar
Lalo : Symphonie espagnole
for violin and guitar
MusicWeb Review on Lalo
Music Web International
06 March 2014
Here's one for transcribers. You'll have a copy of the Symphonie Espagnole somewhere or other on your shelves but I doubt very much that you'll have come across Lars Hannibal's arrangement of the work for violin and guitar. Well, here it is, played by the transcriber and his colleague Kim Sjøgren.
 
It goes without saying that it gives the work the character of a chamber piece and that there are numerous moments that, because of the Iberian affinities of the music, sit well for the guitar – the opening for example is immediately arresting. I'm sure Hannibal would hardly claim that the felicity and subtlety of the wind parts have survived entirely intact – but then doubtless he would counter that his transcription serves a different function.  He and Sjøgren are a well established team and they have been captured in the big acoustic of the Monastery La Cartuja de la Sierra de Cazalla – not a new recording by any means as it was taped back in 1992. The sound tends to swell to fill the acoustic quite dramatically.
 
Sjøgren is a big boned and big-hearted player who piles on the expression. He's made a fine recording of the Nielsen Concerto for Chandos. He digs deeply into the string though tonally things aren't as variegated as they might ideally be. Similarly his bowing is inclined to be quite muscular. He seems to enjoy the arrangement - though in the modern manner he largely abjures expressive finger position changes and portamenti. The whole performance is rather enjoyable; in a way it put me in mind of inter-war recitals in which concertos were piano accompanied. There's a certain utility to the thing.
 
Hannibal has also arranged the much less well-known Fantasie Norvégienne. In fact aficionados of the guitarist will know that he's recorded it in a version for sopranino recorder and guitar with his wife Michala Petri ["Kreisler Inspirations" - RCA 74321 75479-2]. This again is an orchestral work that Hannibal has downsized appropriately for guitar and violin. It's not inappropriate really as, unlike the companion work, you're highly unlikely to run into this in concert. Violinists of old generally played it in a piano reduction anyway, so Hannibal's work is well founded here. Once again Sjøgren makes a big sound, explicitly contrasting upper and lower strings in a tonal tussle of wills. Occasionally some of the lower string work is a little hoarse. Otherwise his playing is once again extrovert, with some throbbing vibrato to the fore in the central movement. If you've ever come across recordings of the work they're likely to have been by Thibaud and Ricci.
 
Unusual and surprising fare from Our Recordings.
 
Jonathan Woolf

http://www.musicweb-international.com/classRev/2008/Mar08/Lalo_8226903.htm
Music Web International

Michala Petri, recorder
Anthony Newman, harpsichord
Telemann 4 2
Complete Recorder Sonatas
Review in Daily Classical Review on Telemann for Two
Daily Classical Music
06 March 2014
Handel was only sixteen when he first met Telemann. They remained in touch, and Handel later sent him from London a selection of rare plants. Telemann was godfather to Bach's second son and wrote a fine poem after Johann Sebastian's death. Since then Telemann's reputation has wavered. Here he sounds an occasionally plangent note, but for the most part is content to be playful and skittish. The result is delectable listening. The first sonata from 'The Trusty Music master' starts with the sort of fireworks Telemann could let off almost without thinking.
It is a major pleasure, as it were, when Telemann decides to languish into the minor. His F minor sonata in the same set begins 'Triste', and the mood is maintained throughout the third-movement Andante. This gives Michala Petri, who has demonstrated already a formidable technique in dazzling passagework, the chance to show how expressively she can also play.
I can only think back ruefully to my own recorder-playing days, inspired all those years ago by the comparatively modest performances of the Dolmetsch family.
Telemann remains a little mournful in the first of his 'Music Study' sonatas, even when proceeding at speed. I now began to wonder whether the balance between recorder and Anthony Newman's harpsichord was not tilted too much towards the former. A cello to reinforce the bass line would have been appropriate and helpful.
I can but admire, however, the remarkable variety of tone Michala Petri obtains from her instrument, as also the dynamic range. There is not the slightest hint of monotony.
It is joyous to end with the sheer virtuosity of the final Vivace on the CD, in which Telemann throws down the gauntlet of a fearsome technical challenge. The performance is indeed triumphant.
It is worth adding a word of commendation for the admirable liner notes of Joshua Cheek. For once I felt no need to surround myself with a pile of reference books, and basked happily in the midst of much apposite writing. I agree that 'Ehrenpforte' means 'Triumphal Arch', but in context 'Roll of Honour' might just be preferable. I greatly appreciated the title to his piece: 'A Telemann for All Seasons'. I could not ask more. Robert Anderson February 2014
Daily Classical Music

Michala Petri and Elisabet Selin
Axel Borup-Jørgensen (1924-2012)
Recorder music by Axel Borup-Jørgensen
Great Gapplegate review on Recorder Music by Axel Borup-Jørgensen
Gapplegate
12 February 2014
Gapplegate Classical-Modern Music Review
Modern classical and avant garde concert music of the 20th and 21st centuries forms the primary focus of this blog. It is hoped that through the discussions a picture will emerge of modern music, its heritage, and what it means for us.

Up until now when I thought of recorders, I thought of the baroque and early music periods and the sound one hears in such contexts. It never occurred to me that the high modern arena would utilize the family of instruments and I cannot recall having heard such a thing.
But all that is in the past now that I have immersed myself in Axel Borup-Jorgensen's CD Recorder Music (OUR Recordings 8.226910). We are treated to eight compositions for various-sized recorders--alone, with harpsichord or with percussion. No less than seven of these works are enjoying their world premier recordings on this disk.
The recorder performances are in the hands of Michala Petri and Elisabet Selin, and they are impressive exponents indeed. Ingrid Myrhoj appears on harpsichord for two pieces; Gert Mortensen plays the multiple percussion instrument part on the one work involved. Everyone sounds great but it is the expanded recorder techniques and the clarity, dynamic thrust and elan of their execution that bring it all together.
Alex Borup-Jorgensen (1924-2012) wrote these works between 1975 and 2011. That they were a labor of love seems clear as you listen. The mastering of the recorder parts by Michala Petri and Elisabet Selin were no doubt labors of love as well.
The earlier works feature rapid-fire jumps into and out of various registers; the later works less so. In any case the parts are difficult and superbly played. It's almost uncanny to hear the recorder in an expanded, ultra-modern tonality. Once one gets over the shock the idea that these are fine works that bear repeated hearings sets in. And from that point I was hooked.
This is not just state-of-the-art modern recorder music. It is also a collection of very pleasing high-modern chamber music.
Very much recommended.
Grego Applegate Edwards, February 3th 2014

Gapplegate

Michala Petri and Lars Hannibal
Virtuoso Baroque
Fantastic review on The Nightingale and Virtuoso Baroque in Sächische Zeitung!
Sächische Zeitung
03 February 2014
Sächische Zeitung ( Reichweite 710.000)

Grenzlos nah am Geschehen

Für die dänische Flötistin Michala Petri scheint nichts unmöglich. Jetz singt sie wie eine Nachtingall, und die klangtechnik brilliert dazu.

Wenn Michala Petri auftritt, dann lässt sie meist in irgendeiner Weise aufhoren. Da ist keine spur von Gewöhnung und Poutine – und dies, obwohl die Dänin ein Instrument spielt, bei dem mancher gähnend abwinkt: Blockflöte. Die scheinbar endlos wiederkehrenden Muster einer barocken Chaconne von Tomaso Antonio Vitali ermüden sie und auch den Hörer nicht. Viel zu ansteckend ist die Neugier, mit der sie die melodischen Variationen erobert. Seit 20 Jahren musiziert Michala Petri in Duo mit dem Lautenisten Lars Hannibal. Ihre Jubiläums – CD "Virtuoso Baroque" vereint Raritäten mit wohlbekanntem Sonatenwerk- Aber auch Bach, Händel und Telemann klingen hier so unverbraucht und rein, als seien die edlen Schätze gerade erst entdeckt worden.
"Ach Gott, wie ist das schön!", seufzte der Fischer, al ser vom Uferwald her jene Nachtingall singen hörte, die spatter den Kaiser von China zu Tränen rühren sollte. Der ausgefeilte Gesang der Nachtingall muss jeden faszinieren, der ihn hören kann. Keinen Ersatz, wohl aber neuen Anlass, vor Ergriffenheit zu seufzen, bietet Ugis Praulins, der Hans Christian Andersens Märchen aufgegriffen und in packend lautmalerischer Art für Flöte und Choir vertont hat. Der litausche Komponist ehrt darin die Nachtingall des Dänen mit ¨bersinnlichen Charakterzeichnungen und fordert dabei den Interpreten einiges ab. Keinerlei Mühe, vielmehr höchste Genugtung verspürt man bei Michala Petri und dem Danish National Vocal Ensemble unter Stewphen Layton. Sie haben "The Nightingale" und zudem drei weitere Werke erstmal eingespielt: "Nemesis divina" des Schweden Daniel Börtz, "I" vom Dänen Sunleif Rasmussen sowie "2 scenes with Skylark" des D¨nen Peter Bruun. Es sind faszinierende Schlaglichter nordischer Musik der letzen fünf Jahre. Singstemmen und Flöte finden dabei in unterschiedlichsten Klanglandschaften und Ausdruckbereichen organisch zusammen.
Die beiden SACDs bieten nicht nur künstlirischen Hochgenuss. Wann die heimische Wiedergabetechnich auf den Prüfstand dtellen, wenn nicht hier? Vor allem kann man fragen, auf welchem teller sich diese Tönträger zu drehen und welcher Wandler ihre Signale aus der digitalen zurück in die analoge Welt holen sollte, um das Optimum an Klangkvalität herauszuholen. Denn das hier verwendete DXD-Format (=Digital eXtreme Definition) bedeutet unvorstellbar viel Information: die achtfache Zahl an Signalabtastungen sowie 256-mal feiner aufgelöste Messwerte gegenüber der herkömmlichen CD. Zuhören lohnt sich. So nah eie an dem, was Michala Petri, Lars Hannibal und die singenden Dänen gezaubert haben, war Digital Audio nur selten am geschehen. "Virtuoso Baroque", "The Nightingale", Michala Petri, Lars Hannibal, Danish National Vocal Ensemble, Stephen Layton. (OUR Recordings).
Karsten Blüthgen 18.01.2012
Sächische Zeitung

Michala Petri and Lars Hannibal
Virtuoso Baroque
Great review of Virtuoso Baroque in Classical Guitar Magazine,- UK
Classical Guitar Magazine
03 February 2014
Classical Guitar Magazine, UK

It's somewhat immodest title, but long before Vitali's action-packed Chaconne has run its 9:54, course it becomes abundantly clear that Petri and Hannibal, whose two decades as a team this recording celebrates, are much to be immodest about. Having, by accident of birth, been raised in a neck of the woods where recorder-centred chamber gatherings featured the indefatigable John Turner are a frequent occurrence. I've been fully aware since preadolescence that there's much more to this instrument than battalions of seven-year-olds squeaking their way through Bobby Shaftoe.
But even so, I could hardly fail to be wowed by the sheer brilliance displayed by Michala Petri in the Vitali and elsewhere. And although Lars Hannibal's role is, by nature of his chosen instrument, that of accompanist, the range of textures emerging from a magnificent Paul Thomson archlute he proudly brandishes on the cover is extraordinary. For every routine series of block chord backdrops, there's a full-on active bass-line of the type Hannibal provides for the much of the central Allegro in The Devil's Trill.
Here and elsewhere, the duo treads a mostly familiar path, the greater part of the material being drawn from flute and fiddle sources. The notable exception is RV 59 which, according to Joshua Cheek's extensive programme notes, forms part of an elaborate hoax perpetrated by Nicolas Chédeville (1705-1782), whose agenda was to borrow the name of a big-hitting composer in order to give greater kudos to a series of sonatas he'd written for his own instrument, which was the musette. Given that the musette had by that time become little more than what Cheek terms "an exotic novelty", few would now blame Chédeville for doing what he allegedly did. And RV 59 is a wonderfully engaging baroque middleweight, whoever wrote it. Are there any musette recordings out there?
But until someone answers the above question, this classy and uplifting release from Petri and Hannibal ticks all the boxes.
Paul Fowles, April 2012
Classical Guitar Magazine

Michala Petri and Elisabet Selin
Axel Borup-Jørgensen (1924-2012)
Recorder music by Axel Borup-Jørgensen
Enthusiastic review on Recorder Music by Axel Borup-Jørgensen in The Classical Reviewer
The Classical Reviewer
02 February 2014
The Classical Reviewer Sunday, 19 January 2014
Works for recorder, harpsichord and percussion by Axel Borup-Jørgensen on an attractive release from OUR Recordings
Axel Borup-Jørgensen (1924-2012) www.borup-jorgensen.dk was born in Denmark but grew up in Sweden. He studied piano at the Royal Danish Academy of Music and orchestration with Poul Schierbeck and Jorgen Jersild. He was one of the first Danish composers to attend Darmstadt school, but he has never composed serial music.
Axel Borup-Jørgensen's music is characterized by his Swedish upbringing, and among his works feature Swedish poetry and the Swedish landscape. His large output of compositions includes music for orchestra, chamber music, songs with piano and other instruments. Prominent amongst his works are compositions for percussion and guitar. Axel Borup-Jørgensen was a seminal figure in contemporary Danish musical life and the recipient of a number of the country's most distinguished awards, including the Carl Nielsen Prize and the Wilhelm Hansen Prize. 

He considered himself a self-taught composer; while being thoroughly 'modern' in outlook; his music is organic, expressionist, always embracing the sheer sensual beauty of the musical tone.

A new release from OUR Recordings www.ourrecordings.com presents Borup-Jørgensen's complete works for recorder; a chronicle of a thirty year relationship that began when his daughter, Elisabet Selin became Michala Petri's first and only private student. This recording is unique in that the artists featured, Michala Petri www.michalapetri.com  and Elisabet  Selin (recorders), Ingrid Myrhoj (harpsichord) and Gert Mortensen (percussion) www.gertmortensen.com are those for whom these works were originally composed, their interpretations, therefore being both personal and authoritative.

Drum rolls open Periphrasis, Op.156 (1977, rev. 1993-94) for recorder and percussion behind which the low sound of a recorder hovers. Other percussion adds to the texture before the recorder plays a staccato theme that jumps around, high in the register. As the recorder dances around the percussion, various textures and colours are created. Despite the outwardly fragmented sounds, the recorder maintains an underlying melodic line that is most attractive. Later the music slows in a delicate passage with quiet thoughtful phrases leading to a hushed end. Overall this is a real musical achievement, wonderfully played by for Michala Petri and Gert Mortensen.

Nachtstuck, Op. 118:1 (1987) for tenor recorder opens with what sounds like light drum taps but which are actually recorder sounds made by an unusual technique. The recorder tentatively introduces a theme, quiet and mournful, with little upward phrases and more, odd breathing effects from the recorder that sound like snare drum.  More textures are drawn from the recorder in this challenging example of recorder technique brilliantly realised by Elisabet Selin. Louder phrases appear, darting around before strange dissonant multitones conjure up a nightmarish nocturnal atmosphere as the music slowly find its way to a quiet coda.

Architraves, Op.83 (1977) for sopranino recorder solo brings a joyful motif that dances around. Axel Borup-Jørgensen has a way of creating a kind of lyricism from seemingly abstract, even fragmented ideas. Michala Petri is terrific here, with fine precision in the sharp staccato notes that often seem to imitate bird sounds. A terrific work.

There is a vibrant opening for recorder and harpsichord in Zwiegespräch, Op. 131 (1988-89) for sopranino recorder and harpsichord with Borup-Jørgensen again drawing a lyrical line from fragmented motifs and varied intervals. It is strange how well these instruments sound together, taking our perception of them as baroque instruments and creating a modern language for them. Both have a kind of dialogue, the harpsichord with short, clipped phrases and the recorder more melodic and flowing. There is much fine playing from Elisabet Selin and Ingrid Myrhøj.

Bird song again appears in Birds Concert, Op.91:9 (1995) for descant recorder solo, but it is longer drawn phrases that open the work, before little bird like motifs appear. The longer phrases return but are slowly overtaken by the bird trills in this wonderfully effective piece so well played by Michala Petri, for whom it was written.

Elisabet Selin and Ingrid Myrhøj return for the Fantasia, Op.75 (1975, rev. 1986-88) for sopranino recorder and harpsichord. The sopranino recorder maintains a melodic line over the fragmented chords of the harpsichord and, as the work progresses, the harpsichord develops intricate, ever changing sounds whilst the recorder continues its melodic flow with some wonderfully fluent playing from Selin. Towards the end, the recorder holds an incredibly long note against the harpsichord before weaving its way to the coda.

The mellow sound of the treble recorder comes as a contrast in Pergolato, Op.183 (2011) for treble recorder solo with Michala Petri playing a mellifluous melody. There are no unusual recorder techniques here, the recorder really sings in Petri's hands. Repeated melodic phrases do not outstay their welcome as the music flows to its gentle coda.

Birdsong again seems to immerse itself into Notenbüchlein, Op.82 (1977-79) for descant recorder solo. It is hard not to become immersed oneself in this attractive music where Borup-Jørgensen's playful little bird trills are so lovely. A beautifully written piece, exquisitely played by Elisabet Selin.

This attractive and worthwhile release is an excellent memorial to Axel Borup-Jørgensen and his exploration of the recorder. Well recorded on various dates and at various venues, there are informative booklet notes by the composer and Jens Brincker.

The Classical Reviewer

Michala Petri, recorder
Lan Shui, conductor
Chinese Recorder Concertos
East Meets West
Chinese Recorder Concertos listed on January CDHotlist in US
26 January 2014
New

Comments:
 
This is the third installment in the series Dialogue -- East Meets West, which recorder virtuoso Michala Petri inaugurated with her husband on their own record label to facilitate musical exchanges between China and the West. This disc features four recorder concertos by Chinese, Chinese-American, and Taiwanese composers with Petri as soloist. The playing is thrilling; the pieces themselves are all very good, with varying levels of chromaticism and varying blends of European and Asian melodic influences. Petri's recorder is, as always, a joy to hear. (RA)


Michala Petri, recorder
Lan Shui, conductor
Chinese Recorder Concertos
East Meets West
Classicalcdreview.com on Chinese Recorder Concertos
Classicalcdreview.com
26 January 2014
Michala Petri (b. 1958) began playing the recorder when only three years old and went on to become the world's leading performer on the instrument. Her numerous recordings of standard repertory were staples for collectors decades ago and many are still in the catalog. She also has a keen interest in contemporary music and has commissioned many works. This splendid Da Capo issue offers music by four contemporary Chinese composers. These are not miniatures; they are substantial evocative showpieces for soloist and orchestra. Tang Jianping (b. 1955) wrote his three-movement Flying Song for the Chinese dizi (bamboo flute) accompanied by a Pan-Asian ensemble, heard here in a version with western orchestra. China's best-known composer, Bright Sheng (1955), wrote his Flute Moon on a commission from the Houston Symphony which gave the premiere in 1999 with Christopher Eschenbach on the podium. This music was inspired by Chi Lin, the Chinese unicorn also known as the "dragon horse." The two movements (Chi Lin's Dance/Flute Moon) are a virtuoso display for the solo piccolo which is often accompanied by dynamic percussive orchestral outbursts. Ma Sui-long (b. 1939) wrote his best-known composition for the Chinese dizi (bamboo flute), an instrument with a rather piercing sound because of an extra hole covered with a membrane. The music successfully fuses eastern and western music. Chen Yi (b. 1953) was the first woman in China to receive a master's degree in composition. Since then, she has received many awards both for her music and her teaching. The Ancient Chinese Beautyhas three movements inspired by ancient Chinese totems and clay figurines written to showcase Petri's instruments. It was premiered in April 2008 in Beijing to celebrate the 60th anniversary of diplomatic relations between Denmark and the People's Republic of China. All of these performances were recorded in Copenhagen's Royal Danish Academy of Music in April 2010 and must be considered definitive. Audio quality is outstanding. A terrific release!
Classicalcdreview.com

Michala Petri, recorder
Lan Shui, conductor
Chinese Recorder Concertos
East Meets West
Excellent review in US Magazine Fanfare on Cafe Vienna
Fanfare Magazine
23 November 2013
GIULIANI Gran duetto concertante. CARULLI Fantaisie sur un air national anglais. KüFFNER Potpourri sur des airs nationaux français. BEETHOVEN Sonatinas: in c; in C. KRäHMER Introduction, Theme, and Variations. MAYSEDER Potpourri on Themes of Beethoven and Rossini. SCHEINDIENST Variations on an Austrian Folk Tune.


Café Vienna
Audio CD; Hybrid SACD - DSD
Our Recordings
This likeable disc of guitar and recorder duets presents the sort of light classical music that might have been heard in a coffee house in early-19th-century Vienna. Potpourris and variations abound, along with a general air of high-spirited fun alternating with an occasional sentimental melody. Even Beethoven is in an unbuttoned mood in his Sonatina in C (originally for mandolin and recorder, as is its discmate), although the Sonatina in C Minor is not so cheery. Still, it's hardly a heavy or portentous statement. Giuliani's Gran duetto concertante, not unexpectedly, introduces some Italianate warmth, and Carulli converts God Save the King (the Air national anglais of his Fantaisie) into a lyrical, even happy hybrid of English and Italian style. The recital is primarily Petri's show, although Hannibal plays with flair whenever he's given the opportunity; otherwise, he's pretty much restricted to simple accompaniments. Petri, of course, is the reigning diva of recorder music, and it's always a pleasure to hear her display her effortless virtuosity. Overall, this is a charming recital that introduces listeners to some composers whose light has faded over the years, and the Beethoven is far from a repertoire staple. Production values are consistent with the other Our Recordings releases I've seen: informative notes in a well-designed booklet, clear and present recording, and sturdy cardboard packaging that dispenses with the plastic jewel-box format. Robert Schulslaper

This article originally appeared in Issue 33:4 (Mar/Apr 2010) of Fanfare Magazine.
Fanfare Magazine

Michala Petri, recorder
Lan Shui, conductor
Chinese Recorder Concertos
East Meets West
10/10 in ClassicToday on Chinese Recorder Concertos
ClassicalToday.com
02 November 2013
CHINESE RECORDER CONCERTOS
TANG JIANPING
Flying Song
BRIGHT SHENG
Flute Moon
MA SHUI-LONG
Bamboo Flute Concerto
CHEN YI
The Ancient Chinese Beauty
Michala Petri (recorder)

Copenhagen Philharmonic

Lan Shui

OUR Recordings- 6.220603(CD)
No Reference Recording



Does anyone need 71 minutes of Chinese recorder concertos? On evidence here, the answer is "yes". This is beautiful music, often astoundingly so. Sure, there's a touch of film music glitter to Tang Jianping's Flying Song, and Ma Shui-long's Bamboo Flute Concerto starts with the somewhat oxymoronic designation "Andante Grandioso", but so what? Both Bright Sheng's and Chen Yi's works effortlessly integrate a more contemporary musical syntax with traditional Chinese idioms, and the music works perfectly--intriguing, beguiling, and full of character. It also goes without saying that Michala Petri has no peer today as a master of her instrument, and she wrings more color and expressive intensity from the recorder than you ever believed possible. Toss in fine accompaniments and outstanding engineering, and the result is an absolute joy from start to finish.


--David Hurwitz




ClassicalToday.com

Michala Petri, recorder
Lan Shui, conductor
Chinese Recorder Concertos
East Meets West
5 Star review in Danish Magazine Klassisk on Chinese Recorder Concertos
Klassisk Magazine
02 November 2013
PIBLENDE PERLENDE FRA RIGET I MIDTEN
5 star in Danish Magazine Klassisk

Sjældent er så meget energi, virtuositet og vildskab blevet samlet på ét sted som på denne CD, hvor blokfløjtenisten Michala Petri med de lynhurtige hænder fortolker tonerne fra fire vidt forskellige kinesiske komponister.
Østens fremmedartede musikalske strukturer kommer stærkt til udtryk i all fire værker. Det vestligt prægede klangbillede i form af Sjællands Symfoniorkester danner spændende kontrast til de orientalske klange.
Tang Jianpings Fei Ge (Flyvende Sang) er iørefaldende fin og farverig med sin bløde, svævende klange. Man fornemmer et jazzet præg i den bløde andensats. Tit synger blokfløjten solo i kadenceagtige, helt frit og luftige passager. Orkestrets chefdirigent Lan Shui er skarp og præcis og skaber et rytmisk, fremadrettet drive gennem værkets piblende passager. Han holder orkestret tilbage og giver plads til fløjtens sprøde klange.
Mystisk og mørkt åbner Bright Shengs tosatsede værk Flute Moon for strygere, harpe, klaver, slagtøj og et arsenal af forskellige blokfløjter. Værkets indledende toccata står distinkt med sine karakteristiske rytmiske motiver. Åbningssatsen Chi Lin's Dance beskriver det mytologiske væsen enhjørningen, som er et sagnomspundet væsen i kinesisk kultur.
Michala Petri former værket med smittende solistisk autoritet og driver energisk orkestret frem med fløjtens eksotiske klang-og rytmemotiver. Undervejs skifter hun behændigt mellem blokfløjter i mange størrelser og skaber varierede klanguniverser.
Ma Shui-longs Bambusfløjtekoncert klinger filmisk med storladen orkestrering, og den lyse, dansende blokfløjte imiterer med lyrisk lethed orkestrets motiver. Igen får Lan Shui det levende og sprudlende frem i orkestret. Chen Yi's The Ancient Chinese Beauty afspejler forskellige elementer fra den antikke kinesiske kultur. Satserne har hun symbolsk kaldt Lerfigurerne, De gamle totemmer, og Det dansende blæk. Fløjten er igen fri i de stille, atonale passager, mens orkestret leverer et sparsomt, transparent og rytmisk akkompagnement. Det enkle lydbillede kulminerer i en ilter dans til sidst. Musikalsk er denne koncert dog pladens mindst interessante. Det er mere figurer og fragmenter end egentlig musik.
Skiven åbner en spændende og eksotisk sprække ind til den mangfoldighed og farvestrålende kinesiske musikkultur, vi kun kender en flig af i Vesten. Michala Petri er overbevisende som frontfigur hele vejen- en spillevende, lysende ledestjerne. Christine Christiansen, Januar 2011

Klassisk Magazine

Michala Petri, recorder
Lan Shui, conductor
Chinese Recorder Concertos
East Meets West
Norwegian Music Magazine Klassik on Chinese Recorder Concertos
Klassik Magazine, Norway
01 November 2013
Norwegian Music Magazine Klassisk
by Martin Andersson, Nov/Dec 2010

The Our Recordings CD of four recorder concertos by Chinese composers is more of a halfway house. The concerto Flying Song (2002) by Tang Jianping (född 1955) is bright and energetic, martial and dance-like as required, but with moments of introspection. I see from Joshua Cheek's highly informative (necessarily so!) booklet notes that Tang writes film music as well as in almost every other genre; this concerto suggests his film scores must be extremely effective. Bright Sheng's Flute Moon (1999) is in two movements: a
driving toccata representing a huge 'dragon horse' in Chinese mythology and the second an angular and vigorous elaboration of a melody from c. 1200. The
good-natured and attractive Bamboo Flute Concerto (1984) by Ma Shui-Long (född 1939) has become something of a classic: written for dizi, or soprano
bamboo flute, it accommodates Chinese melodic material within the framework of a western concerto – and there's a 'western' flavour in another sense,
since there's more than a hint of Hollywood in Ma's scoring; the grandiose peroration of the slow movement is wonderful. The Ancient Chinese Beauty
(2008) by Chen Yi (född 1953) is a step or two on from Bartók, with astringent, mildly dissonant folk-based harmonies and insistent, almost minimalist rhythms. Here, too, the idea is almost more interesting than the
music: all four pieces are relatively lightweight in terms of their musical content – it will need a real heavyweight of a composer to come along and
crunch west and east together in an individual language before this kind of cross-fertilisation sounds natural. Michala Petri's performances are nonetheless breath-taking (literally, I suppose), and she gets fine supports from her Danish compatriots under Lan Shui.



Klassik Magazine, Norway

Michala Petri, recorder
Lan Shui, conductor
Chinese Recorder Concertos
East Meets West
Classical.net on Chinese Recorder Concertos
Classical.net
26 October 2013
Classical.net
The style of music in this selection with which most non-aficionados of Chinese music will be most familiar is to be found on Chinese Recorder Concertos (OUR Recordings 6.220603), where Michala Petri plays recorder in four modern concerti with The Copenhagen Philharmonic Orchestra conducted by Lan Shui. Fei Ge ("Flying Song") by Tang Jianping, who was born in 1955 contains much beautiful and atmospheric music with many Western orchestral techniques, though has the aura at times of film music. The best known of these composer is Bright Sheng (b.1955), who has lived in the United States since 1982 and is a member of the faculty at the University of Michigan. His Flute Moon is in two movements and driven by dance rhythms and Stravinsky an insistence on forward movement.
More conventionally Chinese-sounding are the two works, the "Bamboo Flute Concerto" by the oldest of the composers represented here, Ma Shui-long (born in 1939) and "The Ancient Chinese Beauty" by Chen Yi (the only woman composer, born in 1953 and a classmate of Bright Sheng at the Beijing Central Conservatory in the late 1970s after the end of the Cultural Revolution). In all cases the playing of Petri is impeccable, though she is not recorded so closely as to afford us a clear hearing of all the nuances written for the recorder. That's a pity. The orchestration, skillful though it is, swamps the recorder, especially in the louder passages. At times – in the work by Tang Jianping, in particular – there is little except some vaguely modal writing and an emphasis on the more plangent tones of which the solo instrument is capable to suggest a thoroughly Chinese métier. But this should not be seen as a drawback: the composers' aims were specifically to blend Eastern and Western traditions, using melodies and musical theories from China with techniques of orchestration and instrumentation from the West. To that end this CD can be taken very much at face value and not necessarily as an entrée into to Chinese music. This CD does consciously represent a push to make the traditions of the older musical culture available and enjoyable to Western audiences. The recorder's gentle and expressive qualities and sound approach so closely the natural breath rhythms of human beings (listen to the slower passages in Flute Moon [tr.5], for example). So it's well-placed to convey the essence of this world. And all the more so when in Petri's hands. Mark Sealey.

Classical.net

Michala Petri, recorder
Lan Shui, conductor
Chinese Recorder Concertos
East Meets West
Gramophone review on Chinese Recorder Concertos
Gramophone Magazine
20 September 2013
Gramophone January 2011, Ken Smith.

Eastern works for flutes transcribe admirably for Western recorder.
The title is a bit of a stretch, since only Chen Yi's The Ancient Chinese Beauty (2008) was actually composed for recorder (in this case for Michala Petri herself) Bright Sheng's Flute Moon (1999) was originally written for Western flute, while Ma Shui-Long's Bamboo Flute Concerto (1984) and Tang Jianping's Fei Ge (2002) were composed respectively for the hampi and dizi, two different styles of Chinese transverse flutes. That said, the recorder is probably the only instrument with both the Western tuning and woody timbre to bridge the gab, and Petri proves to be a brilliant cultural negotiator in her own right.
Tang, the head of the composition department at China's Central Conservatory, offers a rousing opener, ostensibly inspired by Miao singing styles but often sounding more like a cross between Copland's prairie music and Elmer Bernstein's film scores. Sheng's Flute Moon marks a clear departure from his earlier works, the unrelenting aggression of H'un ("Lacerations") now giving way to unapologetic lyricism. Chen, unsurprisingly, reaches a wholly different level, with a range of emotional states and contrasting playing techniques that fits Petri's instrument and personal playing style with bespoken elegance.
The composers from People's Republic stand in stark contrast to Taiwan-born Ma, who was an established composer when his younger colleagues were picking rice in the Cultural Revolution. His Bamboo Flute Concerto (1984) may not have Chen's emotional breadth or Sheng's orchestrational brilliance but its pioneering fusion of Chinese sonority and Western form radiates with a thrill of discovery that practically percolates off the page.
Gramophone Magazine

Michala Petri, recorder
Lan Shui, conductor
Chinese Recorder Concertos
East Meets West
Great new review on Chinese Recorder Concertos in Canadian Music Magazine " The Whole Note"!
The Whole Note
14 September 2013
Chinese Recorder Concertos

Michala Petri; Copenhagen Philharmonic; Lan Shui

OUR Recordings 6.220603

This remarkable CD presents the premiere recordings of four concertos by living Chinese composers, two of whom currently work in the USA. The disc opens with Tian Jianping's Fei Ge (Flying Song), originally written in 2002 as a concerto for dizi (Chinese bamboo flute) and pan-Asian instrumental ensemble. This transcription by the composer for western orchestra and recorder, on which Petri eloquently evokes the dizi in tone and effect, works beautifully with playing of the highest order from both orchestra and soloist.

Bright Sheng's evocative and strikingly beautiful Flute Moon is more a full orchestral work than a concerto, and Petri plays solo parts originally assigned to the flute and piccolo. The piece revels in a rich array of orchestral colours, dazzling musical gestures, and dramatic shifts of mood. The three-movement Bang Di Concerto by Ma Shui-long is the composer's best known composition, and is an extraordinarily effective fusion between Chinese and western musical languages. It receives an utterly virtuosic performance from all involved. Written for Petri by Chen Yi, The Ancient Chinese Beauty draws inspiration from Chinese figures, script, and flutes. The second movement, particularly in its evocation of the ancient xun or large Chinese ocarina, is particularly impressive.

For several decades now Michala Petri has been one of the busiest and most familiar recorder players to audiences around the globe, and with programs such as this she continues to do great things beyond the recorder's more typical boundaries. She seems eminently at home here, making her own distinct music in a fascinating project designed "to creatively collaborate in an international musical dialogue."

Kudos to her, to the wonderful Copenhagen Philharmonic and conductor Lan Shui – and to the composers of these wonderful pieces.

Concert Note: Chen Yi is the featured composer at this year's New Music Festival at the Faculty of Music, University of Toronto with events January 23 through 29. Chen's Yangko is also included in Soundstreams Canada's January 25 concert "Tan Dun's Ghost Opera" at Koerner Hall.

The Whole Note

Michala Petri, recorder
City Chamber Orchestra of Hong Kong
English Recorder Concertos
US Magazine Fanfare on English Recorder Concertos
Fanfare Magazine
24 June 2013
Raymond Tuttle
Fanfare, September 2012

What a lovely disc this is! This is a collection of three English recorder concertos by Malcolm Arnold, Gordon Jacob, and Richard Harvey…Petri is asked to play several different recorders throughout, from tenor to sopranino. The recorders are accompanied by a delicate orchestra, consisting of strings, flutes, clarinets, harp, celesta, and percussion. As the movement titles suggest, this is elfin, magical music.I have to confess it: I've loved every Michala Petri CD that has come my way, and it is too late to turn back now. She offers proof—if proof were needed—that the recorder transcends its schoolhouse associations by producing sounds that are both uncommonly plangent and sweet. Her many fans might be reluctant to duplicate the Arnold and Jacob works, but Harvey's concerto is a most enjoyable discovery, and so there's really nothing to do but to go out and purchase this CD as well! © 2012 Fanfare
Fanfare Magazine
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