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Michala Petri, recorder
Marilyn Mazur, percussion
Brazilian Landscapes
Refinement and inventiveness in "Brazilian Landscapes"
Camila Frésca, Concerto Brazil
28 September 2017
Refinamento e inventividade em “Brazilian Landscapes”

Um disco de música instrumental brasileira para a formação de flauta doce, percussão e violão. Assim é Brazilian Landscapes, gravado em dezembro de 2016, em Copenhagen, e que chega agora ao mercado brasileiro. O trabalho reúne Michala Petri, flautista dinamarquesa que possui prestigiada carreira internacional como solista e camerista; a percussionista e compositora norte-americana Marilyn Mazur, parceira de grandes nomes do jazz como Miles Davis; e o excelente violonista brasileiro Daniel Murray. A ideia do CD é do também violonista e produtor Lars Hannibal, que conheceu Murray em 2014, em Viena, durante a Classical Next. “Seu toque pessoal e arrojado chamou minha atenção. Imediatamente pensei na possibilidade de combinar o violão do Daniel com a maneira de tocar da Michala, além disso complementada com a incrível sensibilidade e inventividade de Marilyn Manzur, que eu sempre admirei em muitos outros trabalhos. Nos anos seguintes nos encontramos algumas vezes na Dinamarca e fomos amadurecendo este projeto tão especial”, escreve ele no livreto que acompanha o disco.
http://concerto.com.br/imagens/0-daniel_murray_foto_gal_-opido_gde.jpg
Daniel Murray [Divulgação / Gal Oppido]
Tem razão Lars Hannibal em se impressionar com Daniel Murray. O jovem violonista, compositor e arranjador é um dos grandes nomes do violão brasileiro de sua geração. Ex-aluno de Edelton Gloeden e Paulo Porto Alegre, aos 15 anos conquistou o segundo lugar no Concours Internacional de Guitarre de Trédrez-Locquemeau (França). Desde então, sua atividade como solista e camerista só tem se incrementado. Daniel possui uma carreira intensa e tem um duo com Paulo Porto Alegre, é integrante do Trio Opus 12 e do Quarteto Tau. Da mesma forma, sua curiosidade em explorar diferentes repertórios já o levou a gravar música contemporânea (ele se especializou em técnicas estendidas para o violão), discos autorais e outro dedicado a Tom Jobim, com arranjos próprios. Isso sem falar nos trabalhos de câmara e colaborações com outros artistas. Daniel, aliás, é um ótimo arranjador, como fica evidente neste disco, do qual é autor de todos os arranjos.
“Nas nossas divagações passeamos por muitos lugares procurando peças que tivessem em comum a mesma expressão musical, tanto brasileira como clássica europeia”, afirma Lars Hannibal sobre a pesquisa para seleção do repertório do disco. “Como músico, o que mais me fascinou na música brasileira foi a enorme variedade de ritmos e expressões que você não acha nem no jazz nem na música clássica da Europa”, completa. Nas peças selecionadas para o disco, pode se perceber algumas vertentes da composição brasileira. Uma delas é a de compositores que são ao mesmo tempo mestres do violão brasileiro: Paulo Porto Alegre, cuja peça Sonhos, em duas versões, abre e fecha o disco; Paulo Belinatti, com Jongo e Pingue-Pongue; e o próprio Daniel Murray, autor de Cauteloso e de Canção e dança. Há também mestres da música instrumental brasileira: de Hermeto Pascoal é a lúdica São Jorge; de Egberto Gismonti, um compositor muito apreciado pelos violonistas, temos o frevo Karatê e a linda A fala da paixão; um nome tanto inusitado na seleção é o de Ernesto Nazareth, com a deliciosa Fon-fon numa excelente versão. Há ainda dois dos maiores nomes da música brasileira: na seara popular, Tom Jobim, que comparece com Olha Maria, em sensível leitura para flauta e violão; e, de Villa-Lobos, temos os Choros nºs 2 e 5. Completa o disco as Oito miniaturas, de Antonio Ribeiro. Se o compositor mineiro não se encaixa exatamente em nenhuma das categorias anteriores, sua música dialoga perfeitamente com o restante do repertório. As peças são originais para piano, mas aqui parecem feitas desde sempre para flauta e violão – bem como estão longe de soar um eruditismo acadêmico, apresentando-se em perfeita combinação com as demais obras do disco.
Brazlilian Landscapes é um disco feito com um cuidado evidente, que vai da seleção das peças, passa pela gravação e pelo acabamento gráfico dos materiais, chegando aos arranjos e à interpretação. A sonoridade é bonita e original, e o resultado geral, bastante inventivo.  (28/9/2017) Por Camila Frésca

English Translation
Refinement and inventiveness in "Brazilian Landscapes" (9/28/2017) By Camila Frésca

A disc of Brazilian instrumental music for the formation of flute, percussion and guitar. So is Brazilian Landscapes, recorded in December 2016, in Copenhagen, and that now comes out on the Brazilian market. The work includes Michala Petri, a Danish flutist who has a prestigious international career as a soloist and chamber musician; the American percussionist and composer Marilyn Mazur, a partner of jazz greats like Miles Davis; and the excellent Brazilian guitarist Daniel Murray. The idea for the CD is also from guitarist and producer Lars Hannibal, who met Murray in 2014 in Vienna during Classical Next. "His bold, personal touch caught my eye. I immediately thought of combining Daniel's guitar with Michala's playing style, complemented by the incredible sensitivity and inventiveness of Marilyn Manzur, whom I have always admired in many other works. In the following years we met a few times in Denmark and we have been maturing this very special project, "he writes in the booklet that accompanies the album.

Lars Hannibal is right to be impressed with Daniel Murray. The young guitarist, composer and arranger is one of the great names of the Brazilian guitar of his generation. Former student of Edelton Gloeden and Paulo Porto Alegre, at age 15, he won second place at the International Guitar Competition of Trédrez-Locquemeau (France). Since then, his activity as soloist and camerista has only increased. Daniel has an intense career and has a duo with Paulo Porto Alegre, is a member of the Trio Opus 12 and the Tau Quartet. Likewise, his curiosity in exploring different repertoires has already led him to record contemporary music (he specialized in extended guitar techniques), record albums and another dedicated to Tom Jobim, with his own arrangements. Not to mention the camera work and collaborations with other artists. Daniel, by the way, is a great arranger, as is evident in this album, of which he is the author of all the arrangements.

"In our ramblings we went through many places looking for pieces that had the same musical expression, both Brazilian and European, in common," says Lars Hannibal on the research for selection of the disc repertoire. "As a musician, what fascinated me most about Brazilian music was the enormous variety of rhythms and expressions that you do not find in jazz or classical music in Europe," he adds. In the pieces selected for the album, one can perceive some aspects of the Brazilian composition. One of them is that of composers who are at the same time masters of the Brazilian guitar: Paulo Porto Alegre, whose piece Dreams, in two versions, opens and closes the disc; Paulo Belinatti, with "Jongo" and "Pingue-Pongue"; and Daniel Murray himself, author of "Cauteloso" and "Canção e Dança". There are also masters of Brazilian instrumental music: Hermeto Pascoal, "São Jorge"; Egberto Gismonti, a composer very appreciated by the guitarists, "frevo", "Karate" and beautiful "A Fala da Paixão"T; a name so unusual in the selection is Ernesto Nazareth, with the delicious "Fon-fon" in an excellent version. There are also two of the biggest names in Brazilian music: Tom Jobim, who attends Olha Maria, in a sensitive reading for flute and guitar; and from Villa-Lobos, we have Choros Nos. 2 and 5. Complete the disc the Eight miniatures, by Antonio Ribeiro. If the composer from Minas does not fit exactly into any of the previous categories, his music dialogues perfectly with the rest of the repertoire. The pieces are original for piano, but here they seem to have been made for flute and guitar ever since - as well as being far from sounding scholarly scholarship, presenting itself in perfect combination with the other works of the disc. Brazililian Landscapes is an album made with an obvious care, that goes from the selection of the pieces, through the recording and the graphic finishing of the materials, arriving at the arrangements and the interpretation. The sound is beautiful and original, and the overall the result is quite inventive. (9/28/2017) By Camila Frésca
 
Camila Frésca, Concerto Brazil

Michala Petri, recorder
Lars Hannibal, guitar
Garden Party
Et musikalsk sølvbryllup
Peter Dürrfeld, Kristeligt Dagblad
16 September 2017
I 1992 holdt guitaristen Lars Hannibal og blokfløjtevirtuosen Michala Petri deres første udenlandskoncert i klostret La Cartuja de Cazalla de la Sierra i Andalusien, og siden har parret turneret over stort set hele kloden og givet ufattelige 1.500 koncerter med et vidtspændende repertoire – lige fra barok over den klassiske og romantisk periode til nutidige værker, der er komponeret specielt til dem.
Det er nok værd at fejre – og det sker på smukkeste vis med en cd, der har fået titlen ”Garden Party” efter en suite, som den danske cellist og komponist Asger Lund Christiansen skrev i 1992, og som her er indspillet for første gang.
Inspirationen fra fuglestemmer fremgår af de seks titler, men her er bestemt også noget at komme efter for os ikke-ornitologer.
Det nordiske spiller en betydelig rolle på jubilæumsskiven.Carl Nielsen er repræsenteret med sine ”humoresques bagatelles”, oprindeligt skrevet for klaver i midten af 1890érne, mens man af Edvard Grieg får fem lyriske stykker, tydeligt inspireret af norsk folkemusik.
Edouard Lalo hører også hjemme i den kategori (selv om han er franskmand med spanske aner), for i 1878 komponerede han den indtagende tresatsede ”Fantasie Norvégienne”.
Lars Hannibal har begået to af numrene ”Dreams” og den stemningsfulde ”Sunset Dance”, begge revideret i 2015. Det fyldige program rundes af med Ge Xie Mei Ling . det lyder og er kinesisk.
En herlig cd i OUR Recordings´ stilsikre layout og fortræffelige lyd.
Peter Dürrfeld, Kristeligt Dagblad

Michala Petri, recorder
Lars Hannibal, guitar
Garden Party
4 star review, Adaptions and original pieces for this superb recorder-guitar duo
BBC Music Magazine
15 Septeember 2017
Adaptions and original pieces for this superb recorder-guitar duo – the disc´s jazzy title suite evoking the calls of three birds is especially charming.
BBC Music Magazine

Michala Petri, recorder
Marilyn Mazur, percussion
Brazilian Landscapes
recorder superstar Michala Petri is always a pleasure
James Manheim, AllMusic (US)
14 September 2017
All Music (USA)
An album of Brazilian recorder music perhaps seems unacceptably obscure, but recorder superstar Michala Petri is always a pleasure, and this little collection offers many charming moments. Much of the music was arranged from piano pieces or other instruments, but there are a few recorder originals, and one work, the delightful Pingue-Pongeu of Paulo Bellinati is for any pair of instruments. The key of the album´s success is that Petri modulates the sound of her instrument to produce a seemingly artless sound that fits the folklike nature of most of the melodies here. A few pieces call for virtuoso effects, but for the most part the focus is on Petri´s singing tone. Several of the Brazilian giants, including songwriter Antonio Carlos Jobim and composer Heitor Villa-Lobos, are included. The bulk of the music is semi-popular, following in the lines of thoughts Villa-Lobos laid down. Percussion is added on some of the more rhythmic numbers (and most of them are rhythmic). Sample Cauteloso by Daniel Murray, purely Brazilian despite of the name, who is a classic example of the choro genre first exploited by Villa-Lobos decades earlier, just slightly expanded chromatically. The OUR Recordings engineering team achieves impressive results with the tricky recorder-and-guitar duos. Recommended. 
James Manheim, AllMusic (US)

Michala Petri, recorder
Jean Thorel, conductor
A Pacifying Weapon [LP]
Sean Hickey
A New lokk at the concerto
Kathleen McGowan, I Care if you Listen,
09 September 2017
Music relies on listeners’ expectations to present its material—a kind of portable structure that goes from piece to piece, and changes over time. Composers and performers either meet or subvert those expectations in the music that they write. Some do so intentionally, while others do not. Composers and performers in the twenty-first century make it their business to challenge the forms and functions of the classical canon, and generally give every norm they encounter a new voice. A Pacifying Weapon (OUR Recordings) does this with great success, striking an excellent balance between tradition and innovation by writing in established forms for uncommon combinations of instruments without adding electronic elements. The recorder is the unquestioned star of this album, and soloist Michala Petri. has a clear command of both its technique and of composer Sean Hickeys vision for its more modern voice. She also carries the more traditional Concertino for Recorder and Strings by Thomas Clausen with grace and poise.
Petri commissioned the title composition, A Pacifying Weapon, in 2015. Though not titled as a concerto, Hickey wrote it as such and used it to “wrestle with the concerto tradition and its complications.” He kept many of the structures that make a concerto recognizable: three distinct movements presented in a fast-slow-fast succession; alternating between solo instrument and accompaniment ensemble passages. Hickey wrote for the Royal Danish Academy of Music (RDMA) winds as a constantly fluctuating chamber group. His accompaniment has a clear yet subtle influence from film music: a chord here, a specific orchestration there; never a direct quote. The brass is limited to section chorales that, even when quiet, sound enormous. The result is atmospheric, and about as far from traditional recorder music as one might get.
This mix of exposed passages and chamber writing in the accompaniment creates the kind of space the solo recorder needs, and this is also where Hickey departs from the traditional concerto structure. The first movement is more of a tone poem with a significant soloist. The soloist’s virtuosity is excellent–Petri plays clearly and confidently in long technical passages (obligatory, for a concerto), but doesn’t default to “noodling” in cadenza and unaccompanied passages. She has an obvious command of the recorder’s capabilities beyond notes per minute, and it’s gratifying to listen to an artist explore the virtuosity of simplicity as well as of technicality. Particularly in the second movement, Hickey writes in sustained tones that Petri has to keep interesting throughout, and this requires a less-celebrated brand of artistry.
The third movement is where Hickey really puts the recorder and the concerto form through their respective paces. Instead of a more traditional show piece, the third movement is a character study. The brass chorales are still traditional, but they’ve traded their earlier sedateness for an angular, urgent tension. The recorder is capricious—like a character out of Shakespeare, popping in and out of the scenery. The use of bass recorder in the middle section is a departure from everything else so far. It alternates between the ethereal and the striking, with an intensity that recalls Feldman and Boulez. The final fast section calls back to the recorder as a folk instrument. The accompanying percussion and winds are short, light, and closely orchestrated—punctuation for the soloist’s final remarks.
Thomas Clausen´s Concertino for Recorder and Strings provides a much more traditional context for the recorder. Clausen’s solo writing owes much to clarinet repertoire, providing a very different role for Petri to play than those in in A Pacifying Weapon. The middle section could be Baroque, but for its more modern benefits (like extra cellos and basses). The final presto owes many of its mannerisms to Mozart and Rossini, though in a contemporary landscape. Whether these are conscious allusions by the composer or whether he is simply well-schooled in classical repertoire is hard to tell. In the end, it doesn’t really matter. It is light, humorous, exciting, and a technical tour de force—an excellent counterpoint to Hickey’s previous piece.
The album in total strikes an excellent balance of fulfilling and subverting its listeners expectations, both of the recorder and of the concerto. Having a period instrument play in a contemporary context breaks the recorder’s norm and adds a new dimension to its largely historical repertoire. The music, the soloist, and the student musicians of the RDAM are all genuinely impressive, and they’ve produced an excellent recording worth regularly revisiting. Kathleen McGowan, 2017 September 7th
 
 
Kathleen McGowan, I Care if you Listen,

Michala Petri, recorder
Lars Hannibal, guitar
Garden Party
Highly recommenden (4½ Star out of 5
James Mannheim, AllMusic (US
08 September 2017
4½ star out of 5
The great Danish recorder player Michala Petri, having inspired a generation of younger virtuosos, has turned in the later part of her career to recordings of a personal kind, issued on a label of her own distributed by Naxos. Here, together with guitarist and frequent concert partner Lars Hannibal, she explores the character piece: not in itself a personal genre, but Petri explains in an elegant note how such pieces help her connect with new audiences, an enterprise to which the recorder is well suited. To this end she offers delightful miniatures, arranged from piano pieces by Nielsen and Grieg; a lovely and all-but-unknown Fantaisie Norvégienne by Lalo that exists in various versions (sample these and you may be sold on the spot), and some contemporary pieces that fit the mood, as well as a Chinese finale. Throughout, Petri offers the mix of clarity and tonal precision (so far removed from the whining recorders of the first wave of the instrument's revival during the LP era) and warmth that has had her setting the standard for a while now. Highly recommended. 
James Mannheim, AllMusic (US

Michala Petri, recorder
Lars Hannibal, guitar
Garden Party
5 Star review "dreamlike realm of peace and pleasure".
Remy Franck, Pizzicato, Luxemburg
07 September 2017
Die entspannte Musikalität dieser CD garantiert einen uneingeschränkten Genuss. Mit der Produktion haben die beiden Interpreten Michala Petri und Lars Hannibal nicht nur ihrem Publikum eine Freude gemacht, sondern auch sich selber.
Sie feiern damit den 25. Geburtstag ihres Duos, dessen Aktivitäten im Sommer 1992 im Kloster ‘La Cartuja de la Sierra’ in Andalusien begannen. Seither haben die beiden über 1.500 Konzerte gegeben.
Ihre ‘Garden Party’ ist ein gelungener Mix aus ruhigen und etwas virtuoseren Stücken, mit viel Nostalgie und wunderbar reflektiven Momenten. Technisch ist ganz besonders das Spiel von Michala Petri immer wieder von stupender Qualität in der Atemführung, der Dynamik, der Färbung und der Schattierung. Auch Lars Hannibal ist auf seiner Gitarre ein souveräner Interpret. Beide überzeugen durch eine perfekte Geschmackssicherheit und ein musikalisches Niveau, das die Musik veredelt und in eine vollendet kommunikative Form bringt. Selbst in der simpelsten Musik erreichen die Interpreten eine Stimmigkeit, die beim Hörer zusammen mit den unaufgeregten Schönheiten des Programms rezeptiv-harmonische Qualitäten entfaltet, die zu einem entspannten Wegdriften der Wahrnehmung führt, sofern er zu dieser Kulturtechnik noch fähig ist.
In celebration of their 25th anniversary, Michala Petri and Lars Hannibal have selected a very special program of mostly calm and reflective music, wonderfully played. The relaxed beauty of the performances allows the listener to drift off in the dreamlike realm of peace and pleasure.
Remy Franck, Pizzicato, Luxemburg

Michala Petri, recorder
Jean Thorel, conductor
A Pacifying Weapon [LP]
Sean Hickey
A Pacifying Weapon: A New Look at the Concerto
Kathleen Mc Gowan, I care if you Listen
07 September 2017

Michala Petri, recorder
Marilyn Mazur, percussion
Brazilian Landscapes
4 out of 5 stars
Alex Robinson, Songlines UK
04 September 2017
Brazil´s modern classical music, given the focus it deserves.
This decidedly erudite CD is like a classically tinged Codona trio album for the new millennium. Like Don Cherry and Nana Vasconcelos´s Codana, Brazilian Landscapes witnesses an encounter of strings, wind and percussion – provided by the masterful classical guitar of Brazilian Daniel Murray, Denmark´s foremost recorder player Michala Petri and virtuoso New York percussionist Marilyn Mazur. The trio devote themselves entirely to a repertory of modern Brazilian classical compositions. Which include Villa-Lobos`” Chôros No 5”, the hauntingly melancholic and modal “ Olha Maria by Tom Jobim, the staccato and joyful frevo “Karate” by jazz composer Egberto Gismonti, tunes by Hermeto Pascoal and Antônio Robeiro, and original material by Daniel Murray himself.
Those looking for soothing South American sounds will likely be disappointed by this release. Brazilian is one for lovers of serious music, who will find a wealth of exquisitely played, rich, sophisticated pieces that never grate or jar in their virtuosity or experimentalism but that are stimulating enough for the highest of brows.
Alex Robinson, Songlines UK

Michala Petri, recorder
Lars Hannibal, guitar
Garden Party
5 star (Maximun) review on Garden Party in UK Newspaper Daily Mail
David Mellor, Daily mail (UK)
24 August 2017
Michala Petri is the world’s leading recorder player, and more fun can be found on her latest album, Garden Party, with her long-term musical partner, the guitarist Lars Hannibal. Hearing Petri’s dazzling virtuosity, it’s hard to remember that this delightful music comes from the much-derided recorder that we all hated so much at school. 
Here it sounds absolutely dazzling in a range of short, descriptive, so-called character pieces. Some of them are quite well known, such as five transcriptions of Grieg’s delightful Lyric Pieces, originally for piano. 
Most, however, are not, like Edouard Lalo’s forgotten and, for decades, lost Fantaisie Norvégienne, originally for violin and orchestra, and drawing on Norwegian folk music. 
Then there’s the late Danish cellist Asger Lund Christiansen’s Garden Party, an affectionate portrait of six well-known garden birds, and Carl Nielsen’s Humoresque Bagatelles. 
This last piece, in six movements, is eight minutes of pure musical joy; light and breezily melodic. It’s the sort of music you want to listen to over and over again. And I did. 
David Mellor, Daily mail (UK)

Michala Petri, recorder
Jean Thorel, conductor
A Pacifying Weapon [LP]
Sean Hickey
10/10/10 for A Pacyfying Weapen in German Music Magazine Klassik Heute
Heinz Braun,Klassik Heute
22 August 2017
Totgesagte leben länger: Nachdem seit den Achtziger Jahren des vergangenen Jahrhunderts der unaufhaltsame Siegeszug der Compact Disc die herkömmliche Langspielplatte immer mehr vom Markt verdrängte, sagte man der LP den raschen Untergang voraus. Doch allen Unkenrufen zum Trotz ist sie nie wirklich ganz verschwunden und insbesondere den wahren HiFi-Enthusiasten galt sie nach wie vor als das klangliche Nonplusultra. Heute ist Vinyl wieder stark im Kommen. Selbst die größeren Plattenlabels veröffentlichen inzwischen wieder schwarze Scheiben und so überrascht es nicht, dass sich OUR Recordings, eines der innovativsten skandinavischen Klassik-Labels mit einem ausgeprägten Faible für exquisiten Klang, dazu entschlossen hat, die vorliegende Produktion exklusiv auf Vinyl herauszubringen. Mit dem bewährten Tonmeister des Labels, dem Grammy-nominierten Preben Iwan, hat man zudem einen der weltweit besten Klangmagier im Boot.
Und in vielerlei Hinsicht überrascht diese Aufnahme: Nicht allein durch ihren exzeptionellen Klang und die hohe Fertigungsqualität, sondern vor allem natürlich durch ihre musikalischen Qualitäten. Allen voran Michala Petri als herausragende Solistin, aber auch die jungen Musiker der Königlichen Dänischen Musikakademie unter Leitung von Jean Thorel.
Mit dieser „amerikanischen“ Platte endet vorerst Petris Serie von Konzerten für Blockflöte und Orchester aus verschiedenen Ländern und mit Sean Hickey (Jg. 1970) hat man dafür einen der bekanntesten und erfolgreichsten amerikanischen Komponisten seiner Generation gewinnen können. Hickeys dreisätziges Konzert A Pacifying Weapon (zu Deutsch etwa: eine beruhigende Waffe oder – sinngemäß übersetzt: ein Werkzeug des Friedens) entstand 2015 für Blockflöte, Bläser, Schlagzeug und Harfe, eine originelle Besetzung, wenn auch nicht zum ersten Mal verwendet: Bereits der schwedische Komponist Ingvar Karkoff und der Österreicher Viktor Fortin haben konzertante Werke für die Blockflöte und symphonisches Blasorchester komponiert. Was Hickeys Werk dennoch so unverwechselbar macht, ist seine deutlich amerikanische Klangsprache – im besten Sinne eklektisch und Einflüsse aus ganz verschiedenen Welten und Stilen vereinend gelingt Hickey ein überzeugendes und oft überaus klangsinnliches Stück, in dem sich die Blockflötenpalette (von Sopranino bis Bass) in vielen schönen Dialogen und kammermusikalischen Sequenzen mit den diversen Blas- und Perkussionsinstrumenten des Orchesters vereint. Für Hickey ist die Blockflöte, dieses im Grunde jahrtausende alte Instrument, ein Werkzeug des Friedens in einer immer unfriedlicher werdenden Welt. Völlig zu Recht wurde die attraktive, schillernde Partitur und die außerordentliche Einspielung kürzlich mit der Goldmedaille der Global Music Awards 2017 ausgezeichnet.
Auf der B-Seite ist noch einmal eine Übernahme aus einer früheren OUR Recordings Produktion zu hören, das Concertino für Blockflöte und Streichorchester des bekannten dänischen Jazzpianisten und Komponisten Thomas Clausen, ein wunderschönes, neoklassizistisch angehauchtes, spielerisches Werk, das mit seinem rührend „singenden“ Largo (mit unüberhörbaren Anklängen an Bachs Air) und einem virtuos-sprudelnden Finalsatz begeistert. 
Heinz Braun,Klassik Heute

Michala Petri, recorder
Marilyn Mazur, percussion
Brazilian Landscapes
Colourful program with Brazilian music for recorder, guitar and percussion, in bright and sensual performances of a rare spontaneity.
Remy Franck, Pizzicato, Luxemburg
11.08 2017

Michala Petri in Brasilien
Ein weitgehend gutgelauntes, manchmal leicht melancholisches Programm spielen Michala Petri und ihre Kollegen auf dieser SACD. Es sind kleine Stücke (das längste dauert 7 Minuten), die ihre Wurzeln in der facettenreichen brasilianischen Volksmusik nicht verleugnen.
Die Interpretationen sind farbig und sensuell, rhythmisch oder kantabel. Das spieltechnische Niveau ist hoch, aber Michala Petri, der brasilianische Gitarrist Daniel Murray und die amerikanische Schlagzeugerin Marilyn Mazur dringen vor allem tief in die Musik ein und bleiben dabei wunderbar spontan und frisch. 
Colourful program with Brazilian music for recorder, guitar and percussion, in bright and sensual performances of a rare spontaneity.
Remy Franck, Pizzicato, Luxemburg

Michala Petri, recorder
Marilyn Mazur, percussion
Brazilian Landscapes
close your eyes, and imagine yourself beneath an amber moon…”
Jerobear, Weekly newspaper editor in Cheshire, England.)
10 August 2017
This fascinating CD is nominally classical with jazz influences, but you could call it world because of the rhythm, which leans towards the Latin. It’s a quiet and reflective album.
The percussion plays varying roles in the music, coming to the fore in places and dropping back in others. There’s a sense of fun about much of the album — it’s probably engrossing to watch live — and in more than one place the percussion puts us in mind of the Jungle Book, with a playful, but not too intrusive, tribal feel to it. The jazz side is a mix of easy listening and the freer sound of more upbeat jazz: Barbara Thompson/Paraphernalia’s Wilde Tales is one comparison we thought of.
But it’s neither of those of course, and its classical leanings give it intensity; as the PR says, it’s classical “with the seductive and ingenious and multi-layered music of Brazil”.
Producer Lars Hannibal writes in the sleeve that he wanted to combine Brazilian rhythm with Western classical and jazz, which never normally include those rhythms, though he points out that Chopin was popular in the Brazil and was incorporated into the indigenous sounds, so the harmonic origin for bossa nova was Chopin.
The musicians are Michala Petri, recorder; Marilyn Mazur, percussion; Daniel Murray, guitar, and the three play the music of Antonio Jobim, Ernesto Nazareth, Egberto Gismonti and Heitor Villa-Lobos among others, as well as incorporating some of the regional sounds of Brazil.
It is slightly introspective, but the record company website implores: “Please don’t stream it! You’ll miss the full intimacy of the masterful engineering … set up a pitcher of caipirinhas, close your eyes, and imagine yourself beneath an amber moon…”
It’s out on Our Recordings: 6.220618. Buy direct from them. You can try here: 
Jerobear, Weekly newspaper editor in Cheshire, England.)

Michala Petri, recorder
Lars Hannibal, guitar
Garden Party
If you're looking for something that's relaxing but not soporific, and music that won't make you feel talked down to, Garden Party is heartily recommended.
Raymond Tuttle, Fanfare US
02 August 2017
Michala Petri never sleeps. This must be the third CD of hers that I have reviewed in the last 12 months. I have yet to hear anything from her, however, that sounds routine or casual, so I have no reason to complain. Bring 'em on, Ms. Petri!

This CD is identified as a collection of character pieces, defined (in the Oxford Dictionary, and quoted in the booklet note) as “A short composition intended to evoke a given mood, atmosphere, scene, etc. by purely musical means rather through text or dramatic action.” For Petri, such works, because they bear a descriptive title, let audience members know what the composer had in mind, and therefore listeners are made to feel “safe.” In this way, a shared listening experience is created. Petri also writes about her 25 years of performing with Lars Hannibal, who was not just her musical partner but also her marriage partner up until 2010. They have made many CDs together and this one, although Petri plays a starring role, nevertheless reveals the ongoing sympathy and support that they have for each other as musicians.

Asger Lund Christiansen's Garden Party, a suite of six sketches based on birds (the blackbird, the chaffinch, etc.) was composed for Petri and Hannibal. It's a charmer, and I particularly liked how the cuckoo, more clueless than aggressive, has the very last word in his duet with the wagtail, as if he hasn't realized that the piece has ended! The works by Nielsen and Grieg were composed for piano. The former's Humoresque Bagatelles sound very unlike Nielsen, and I suppose that's because a) they are early works; and b) they were composed for children. They work beautifully when played on a recorder and a guitar. The selection of five Grieg works is described as “Lyric Pieces,” but to be picky about it, I think several of them actually are from that composer's Op. 17 collection of 25 Norwegian Folk Songs and Dances. Because the recorder is, in a sense, a folk instrument, music in a folk style is particularly well suited to it.

Listening to these selections by Christiansen, Nielsen, and Grieg I was reminded of those beloved old “Duets With Spanish Guitar” LPs in which guitarist Laurindo Almeida partnered with flutist Martin Ruderman. Petri and Hannibal give off very similar “good vibes.”

Lalo's Fantasie, probably most familiar in its version for violin and orchestra, also exists in a version for violin and piano. It has never seemed particularly Norwegian to me, and it seems even less so in this version for recorder and guitar, but that doesn't matter, given how nicely Petri and Hannibal play it. It has plenty of atmosphere; just don't expect Scandinavia!

I would have thought that Hannibal's two pieces were composed for him and Petri. Surprise—he wrote them for a chamber ensemble. Dreams was inspired by Satie's Gymnopédies, and, more indirectly, so was Summer Dance. These are lovely, quiet works, and they exert a hypnotic charm.

The closing work is Zhang Weiliang's adaptation of a traditional Chinese tune whose title is translated as “Flowering [Blossoming?] Flowers at the River Ge.” It is unclear if Zhang Weiliang composed it for recorder and guitar or for some other instruments, but indeed, the recorder imitates Chinese bamboo flutes and the guitar imitates the pipa, the traditional Chinese lute. It brings Garden Party to a quiet and somewhat mysterious close—just perfect!

Petri, as usual, plays several recorders on this CD, and Hannibal's guitar gets a page to itself. Both “guitar nerds” (Hannibal's phrase, not mine!) and recorder nerds will experience frissons of quiet delight when they attend this Garden Party. You don't need to be in either of those groups to be delighted with it as well. This is not a recital that needs to be analyzed. It was meant to be enjoyed, and there's nothing about the music or the performances that would get in the way of that. If you're looking for something that's relaxing but not soporific, and music that won't make you feel talked down to, Garden Party is heartily recommended.
Raymond Tuttle, Fanfare US

Michala Petri, recorder
Lars Hannibal, guitar
Garden Party
These extraordinary artists would seem to be incapable of anything less than the superlative.
Ronald E. Grames, Fanfare US
31 July 2017
 The garden party of the title turns out to be an anniversary party: 25 years together for the recorder/guitar duo of Michala Petri and Lars Hannibal. They played their first concert together, we are told, in Andalusia, Spain in 1992.

Now, after more than 1500 concerts in venues all over the world, they are, as I write this, on an extended tour through Denmark and into Germany to celebrate the years of playing together. Some would have chosen a champagne toast over an exhausting series of two dozen plus concerts and masterclasses in the next few weeks, but perhaps the champagne will happen, too. And this in addition to the many demands of running their jointly owned record label, OUR Recordings. Some people have all the energy.

The duo’s 20th anniversary was observed, a bit early, with the 2011 release Virtuoso Baroque (OUR Recordings), exploring a particularly rich vein of their work together. This time they have taken a turn to the lighter side, offering a collection of character pieces, mostly by Scandinavian composers, that have played an important role in concerts through the years.

Most originated as piano works, such as Nielsen’s six charming Humoresque-Bagatelles, op. 11, written, it is believed, for his children. These translate easily to recorder and guitar. Grieg’s many character pieces were a natural for this program, with their descriptive titles, jaunty rhythms, and folkish appeal. Édouard Lalo’s Fantasie norvégienne for violin and orchestra was written for Pablo de Sarasate after the violinist provided him with a collection of Scandinavian folksongs. Apparently a tune by Grieg snuck in there, as well. It was first was transcribed by Petri for recorder and orchestra, with some changes in register and small adjustments to the line to accommodate her instrument. It was then transformed into this more intimate form by Lars Hannibal, who crafted all of the guitar arrangements on this disc.

As in an earlier recording of this duo version, with Hannibal and violinist Kim Sjøgren (also OUR Recordings), the virtuoso showpiece proves surprisingly effective when played with guitar accompaniment.

Garden Party, the title work, is inspired by birds that friend Asger Lund Christiansen has encountered on forest walks. He avoids the obvious by characterizing the birds portrayed as much as imitating the songs. The six brief avian portraits—clever and amiable—were written for the duo in 1992. Two evocative works by Hannibal are also included. Originally written for the unusual quartet of violin, trumpet, double bass, and electric lute, they are here performed on recorder (alto, tenor, and bass) and acoustic guitar, a combination that seems perfect for these delicate, warm-hearted works.

The program ends with a reminder of the Petri/Hannibal Duo’s work with Chinese musicians: a realization of an ancient melancholy Chinese melody by Chinese flute master Zhang Weiliang. It is arranged here for Western instruments, but with an appreciation for Eastern aesthetics and technique. The result is both exotic and deeply moving.

Little needs to be said of the performances themselves. These extraordinary artists would seem to be incapable of anything less than the superlative. They clearly have lavished the same attention on these delightful trifles as on any imposing modern score they have tackled together, and their affection and delight is contagious.

Program notes on the duo, the project, and the music are provided by Michala Petri: interesting, but an odd inference that the Lalo Fantaisie has only recently been rediscovered by their doing is perplexing. Though hardly popular, and overshadowed by the Rhapsodie norvégienne which Lalo partially based on it, it has been recorded a number of times, first by Jacques Thibaud in 1930. And if anyone could be said to have “rediscovered” it, it would be Ruggiero Ricci, who recorded it with orchestra in the late 1970s (Vox). There are also some oddities in the listing of the Grieg works—they are all identified as Lyric Pieces, though only one actually bears that title—and a couple of opus numbers are mixed up between works. The headnote above has them correctly cited.

None of that diminishes an iota the pure enjoyment to be realized from this wonderful program, recorded in the superb sound we have come to expect from this label. You have been invited to share in a special celebration of a duo of uncommon brilliance and heart, and your attendance is eagerly encouraged.
Ronald E. Grames, Fanfare US

Michala Petri, recorder
Marilyn Mazur, percussion
Brazilian Landscapes
I enjoyed this attempt to highlight a particular crossover movement
Lark Reviews,- UK
24 July 2017
A light and enjoyable collection of music from a variety of Brazilian composers this CD seeks to demonstrate the links and interplay between the classical world (represented by Villa-Lobos) and the popular (represented by Jobim) to form a “third stream” of popular music with classical influences taken up by contemporary Brazilian composers. None of this music was known to me and I enjoyed this attempt to highlight a particular crossover movement, although at times I might have wished for a slightly more varied instrumentation to cover a whole CD.
Lark Reviews,- UK

Michala Petri, recorder
Lars Hannibal, guitar
Garden Party
Garden Party is a wonderful celebration of a quarter century of the Petri/Hannibal duo
Dave Saemann, Fanfare US
24 July 2017
Part of recorder player Michala Petri's appeal as a concert artist, apart from her musicianship and stunning virtuosity, is that she is a beautiful woman. With the years, she has grown more beautiful in body and soul. I'm sure the two are connected.

Recently I had the pleasure of reviewing Petri's vibrant and evocative album Brazilian Landscapes, featuring percussionist Marilyn Mazur and Brazilian guitarist Daniel Murray. Now, to celebrate the 25th anniversary of Petri's duo with guitarist Lars Hannibal, they have released Garden Party, a collection of character pieces. The guitar parts have been arranged by Hannibal, except for the title work, Garden Party, which was written for Petri and Hannibal by the Danish cellist and composer Asger Lund Christiansen.

Petri says that she enjoys playing character pieces in her recitals, because their titles give the audience an idea of what to expect and puts them at ease, so they can be emotionally responsive to the music. Petri also likes the fact that character pieces typically possess a humorous element, which encourages the artist to play with more exaggeration than in a standard concert work. For proof of Petri's delicious sense of humor, I direct you to her YouTube video of Vittorio Monti's Czardas accompanied hilariously by Victor Borge, at the latter's 80th birthday concert.

Garden Party is an admirable album, not merely for its repertoire, but also for the collective wit and wisdom of two performers who have trod the boards together for a good part of their lives. They are gentle souls whose artistry deserves to be cherished.

Carl Nielsen's Humoresque Bagatelles originally are lovely and charming piano miniatures. Petri's evocation of "The Spinning Top" makes one dizzy. "A Short Slow Waltz" is treated to a beautifully lyrical interpretation. "Puppet March" is a delightfully balletic work of youthful fantasy. "The Musical Clock" could be the score for a music box. Hannibal's warmly atmospheric Dreams has the deceptive simplicity of Satie. Edouard Lalo's Fantasie Norvégienne weaves a rich tapestry of Norwegian folk melodies. Petri demonstrates her expressive range in this work, originally written for Pablo de Sarasate. In the final movement, Petri's playing has the feel of a game of hopscotch. Garden Party is a cheeky title by Christiansen for a collection of pieces about birds. "The Blackbird" paces the ground with a certain solemnity. One can see "The Peacock's" herky jerky movements, including the instant of shock when it spreads its feathers. "The Lark" soars with brilliant sound in the recorder part. There's a touch of Herbie Mann in Hannibal's Sunset Dance. In the selections from Edvard Grieg's Lyric Pieces, the "Elve's Dance" is filled with Petri's stunning, quicksilver virtuosity. By contrast, her ease in "Cattle Call" summons up the pastoral life. She almost seems to be playing a penny whistle in "Stumping Dance."

Flowering Flowers at the River Ge is an ancient Chinese melody recently discovered and realized by Zhang Weiliang. It ends the program with musical speech from a different and distant culture. The sound engineering on the album's CD layer is excellent. I was unable to hear the surround sound program.

Garden Party is a wonderful celebration of a quarter century of the Petri/Hannibal duo. Here's wishing them another twenty-five years of eloquent music making together. Highly recommended.
Dave Saemann, Fanfare US

Michala Petri, recorder
Marilyn Mazur, percussion
Brazilian Landscapes
So convincing are these performances.
perkustooth, NewMusicBluff (US)
17 July 2017
Petri Goes Brazilian
Since her debut in 1969 at the tender age of 11 Danish born recorder virtuoso Michala Petri has been one of the finest masters of the recorder.  This ancient instrument, a forerunner of the flute, has existed since the Middle Ages and has amassed a huge repertoire and Petri seems to have demonstrated mastery over all of it and has been an advocate and promoter of new music for her instrument as well.  She has inspired composers to write new works for her and she continues to entertain audiences and has assembled an ever growing discography of startling range and diversity.  Nearly single handed she has managed to honor past repertoire and firmly ensconce this instrument in the 21st century.
In this release, produced by Lars Hannibal (himself a fine guitarist and frequent Petri collaborator) Petri takes on the music of Brazil and, despite the fact that recorders have seldom found their way into the music of this geographic region, she delivers a convincing and hugely entertaining program on this disc.  Along with Marilyn Mazur on percussion and Daniel Murray on guitar the listener is given an entertaining cross section of Brazilian music ranging from the more classically oriented work of Heitor Villa-Lobos (1887-1959) and Ernesto Nazareth (1863-1934) to the smooth jazz/pop sounds of Antonio Carlos Jobim (1925-1994) and Egberto Gismonti (1947- ).  In between are included works by the album’s guitarist Daniel Murray (1981- ) and a few names unfamiliar to this reviewer including Paulo Porto Alegre (1953- ), Paulo Bellinati (1950- ), Hermeto Pascoal (1936- ), and Antonio Ribero (1971- ).
There is a remarkable unity in this Danish production which stems from a meeting between producer Lars Hannibal and Daniel Murray in Vienna in 2014.  Hannibal’s ear found a kindred spirit whose musicality is a good match for that of Petri.  And like a good chef he added the delicate and necessary spice of the tastefully understated (but extraordinary) percussionist Marilyn Mazur to create a unique trio that sounds as though they’ve played together for years.  Here’s hoping that they’ve secretly recorded enough material for a second album.
All the tracks appear to be transcriptions though the transcriber is not named (I’m guessing they’re collaborative).  What’s nice is that there is nothing artificial or uncomfortable about these arrangements.  The overall impression left is that of a skilled ensemble and listeners encountering the original forms of these works might well assume those to be the transcriptions.  So convincing are these performances.

One last thing.  The sound.  This super audio CD release was engineered by Mikkel Nymand and Preben Iwan and the sound is fabulous.  I don’t have a machine that can read the super audio tracks on this hybrid disc but what I can hear is a lucid recording which embraces the subtleties of this unique ensemble.  Enjoy! 
perkustooth, NewMusicBluff (US)

Michala Petri, recorder
Jean Thorel, conductor
A Pacifying Weapon [LP]
Sean Hickey
Hun spiller som sædvanlig fremragende i det kvasi-avantgardistiske stykke, hvor også de øvrige medvirkende gør sig glimrende gældende.
Peter Dürrfeld, Kristeligt Dagblad, Denmark
28 June 2017
Kristeligt Dagblad (DK)
Michala Petri på Vinyl (4 stjerner)
Lp- pladen har gennem de senere år fået en betydelig renæssance, eller som en yngre musiker for nylig sagde til mig ”Vinyl er hip”. Nu kan man også opleve den berømte danske Michala Petri på en nyudgivet grammofonplade, produceret af det driftige selskab OUR Recordings.
Hovednummeret er intet mindre end en verdenspremiere, nemlig det tresatsede værk A Pacifying Weapon skrevet af den amerikanske komponist Sean Hickey (født 1970). På bagsiden af lp´en redegør han personligt for baggrunden for og indholdet af sit nye værk for blokfløjte, blæsere, messing, percussion og harpe. Hicjey er blevet inspireret af et album med Indigo Girls, specielt et nummer med tiltlen ”Welcome Me”. Det hører med til historien, at indspilningen har involveret en international gruppe af studerende på det Kongelige Danske Musikkonservatorium, der bliver dirigeret af Jean Thorel – og at værket er didikeret Michala Petri.
Hun spiller som sædvanlig fremragende i det kvasi-avantgardistiske stykke, hvor også de øvrige medvirkende gør sig glimrende gældende. De tre satser har en varighed på en lille halv times tid, og man har derfor meget rimeligt fået plads til en såkaldt Concertino for blokfløjte og strygere af Thomas Clausen, et lille åndfuldt værk, der godt kunne have fortjent et par ord med på bagsiden, lp-formatet giver jo rigelig plads hertil. Lydkvaliteten er takket være Preben Iwan oh hans team aldeles glimrende.
Peter Dürrfeld, Kristeligt Dagblad, Denmark

Michala Petri, recorder
Marilyn Mazur, percussion
Brazilian Landscapes
10/10/10 in Klassik Heute on Brazilian Landscapes
Heinz Braun, Klassik Heute
27 June 2017
Klassik Heute (Germany) (10/10/10)
Die Farbigkeit und Vielfalt der Landschaft und Ethnien des größten Landes Südamerikas hat von jeher die Musik Brasiliens beeinflusst. So spiegeln und vermischen sich in der brasilianischen Kunstmusik des 20. Jahrhunderts europäische, afrikanische und indigene Wurzeln zu einem, eben originär brasilianischen, Stil.
Michala Petris neueste CD ist, um es vorwegzunehmen, ein großer Wurf! Zusammen mit ihren kongenialen Partnern, dem phänomenalen brasilianischen Gitarristen und Komponisten Daniel Murray und der nicht weniger eindrucksvollen dänisch-amerikanischen (Jazz-)Perkussionistin Marilyn Mazur präsentiert sie in ihrem, mit fast 72 Minuten Spieldauer gut gefüllten Album ein breites Spektrum brasilianischer Musik der Gegenwart in wunderbar stimmigen Arrangements für Blockflöte, Gitarre und Percussion. Mit dabei selbstverständlich zwei der „Klassiker“: Antonio Carlos Jobim (Brasiliens bedeutendster Komponist populärer Musik) sowie Heitor Villa-Lobos, der international bekannteste Schöpfer brasilianischer klassischer Musik. Aber auch jüngere Komponisten sind vertreten, darunter u.a. mit drei Stücken auch der Gitarrist Daniel Murray.
Blockflöte und Gitarre sind eine geradezu ideale Kombination (und es existieren eine ganze Reihe hervorragender Originalwerke für diese Besetzung). Ergänzt durch die große Zahl der eingesetzten Perkussionsinstrumente, die zuweilen fast eine mysteriöse Amazonas-Urwald-Atmosphäre kreieren, entsteht ein Klangspektrum, dessen unwiderstehlichem Charme man sich kaum entziehen kann: Heiße Rhythmen, stimmungsvoller Groove und Interpreten vom Feinsten!
Eine Gute-Laune-CD voller Überraschungen – zum Hinhören und Chillen. Ideal für laue Sommerabende. 
Heinz Braun, Klassik Heute
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Tel: +45 4015 05 77
E-mail: hannibal@michalapetri.com
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