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The Art of the Recorder

Editorial Reviews

All Music Guide - James Manheim
Denmark's Michala Petri has continued to dominate the modest but persistent recorder "scene" despite the emergence of a host of younger recorder players from the ranks of Dutch-trained historical-instrument specialists. Collecting a group of her 1970s and 1980s recordings, as has been done here, is an eminently justifiable enterprise, for it was these recordings whose laserlike intonation, whip-smart ornamentation, and all-around attractiveness that caught the attention of listeners in the first place. Petri uncovered and recorded a good deal of Baroque repertory for the instruments, recording it with the likes of England's Academy of St. Martin-in-the-Fields. ...
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Editorial Reviews

All Music Guide - James Manheim
Denmark's Michala Petri has continued to dominate the modest but persistent recorder "scene" despite the emergence of a host of younger recorder players from the ranks of Dutch-trained historical-instrument specialists. Collecting a group of her 1970s and 1980s recordings, as has been done here, is an eminently justifiable enterprise, for it was these recordings whose laserlike intonation, whip-smart ornamentation, and all-around attractiveness that caught the attention of listeners in the first place. Petri uncovered and recorded a good deal of Baroque repertory for the instruments, recording it with the likes of England's Academy of St. Martin-in-the-Fields. Contemporary performances of the Italian concertos here may have a bit more zip, but actually the group serves as a nicely restrained foil for Petri, who can easily hold the spotlight all by herself. Her sheer technical facility continues to amaze in the little-known French works of the eighteenth century mixed in the program. About the only complaint is the short shrift given to contemporary music, which Petri has championed energetically, both in Denmark and internationally. Despite the inclusion in the booklet of an entire section devoted to the twentieth century, the only contemporary work included is Gordon Jacob's "Suite for recorder and strings" -- an explicitly neo-Baroque work that is not even typical of the music Petri has commissioned for the instrument. Nevertheless, all the music in this box is worth having and hearing. Listen to the sharp registral leaps in the Allegro molto finale of Vivaldi's "Concerto in C for flautino, RV 443" CD 1, track 3: nobody does these as crisply as Petri does. A nice resource for those who enjoy Baroque recorder music.
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Product Details

  • Release Date: 5/15/2007
  • Label: Decca
  • UPC: 028947584643
  • Catalog Number: 000886802
  • Sales rank: 225,606

Tracks

Disc 1
  1. 1–3 Piccolo (Flautino) Concerto, for piccolo (or recorder/flute), strings & continuo in C major, RV 443 - Antonio Vivaldi & Academy of St. Martin-in-the-Fields (10:43)
  2. 4–6 Concerto for recorder & orchestra in F major - Giuseppe Sammartini & Academy of St. Martin-in-the-Fields (12:37)
  3. 7–10 Concerto for recorder, strings & continuo in C major, TWV 51:C1 - Georg Philipp Telemann & Academy of St. Martin-in-the-Fields (15:22)
  4. 11–12 Organ Concerto in F major, Op.4/5, HWV 293 - George Frideric Handel & Academy of St. Martin-in-the-Fields (7:37)
Disc 2
  1. 1–3 Concerto for flute/recorder & orchestra in C major, Op 3/1 - William Babell & Academy of St. Martin-in-the-Fields (7:17)
  2. 4–6 Organ Concerto in B flat major, Op.4/6, HWV 294 (originally for harp) - George Frideric Handel & Academy of St. Martin-in-the-Fields (10:50)
  3. 7–9 Concerto for flute/recorder, strings & continuo, No.2 in D major, "For Sixth Flute" - John Baston & Academy of St. Martin-in-the-Fields (6:16)
  4. 10–16 Suite for treble recorder & string orchestra - Gordon Jacob & Academy of St. Martin-in-the-Fields (18:48)
Disc 3
  1. 1–3 Concerto for oboe, strings & continuo in D minor, SF. 935 (often transposed to C minor) - Alessandro Marcello & Academy of St. Martin-in-the-Fields (11:06)
  2. 4–6 Piccolo (Flautino) Concerto, for piccolo (or recorder/flute), strings & continuo in C Major, RV 444 - Antonio Vivaldi & Academy of St. Martin-in-the-Fields (9:55)
  3. 7–10 Concerto for recorder, strings & continuo in F major, TWV 51:F1 - Georg Philipp Telemann & Academy of St. Martin-in-the-Fields (12:59)
  4. 11–13 Concerto for flute (or recorder, hurdy-gurdy, musette, oboe) & strings in G major, Op. 17/5 - Jacques-Christophe Naudot & Academy of St. Martin-in-the-Fields (11:12)
Disc 4
  1. 1–4 Sonata for musette (or hurdy-gurdy, flute, oboe, violin) & continuo in G minor (attrib. to Vivaldi, Op. 13/6) - Nicolas Ch├ędeville & George Malcolm (8:38)
  2. 5–8 Sonata for violin & continuo in A major, Op. 5/9 - Arcangelo Corelli & George Malcolm (8:43)
  3. 9–12 Sonata for recorder & continuo in A minor, Op 1 - Diogenio Bigaglia & George Malcolm (7:52)
  4. 13–16 Divertimento da camera No. 6 for recorder and continuo in C minor, Op. 7/6 - Giovanni Bononcini & George Malcolm (7:28)
  5. 17–20 Sonata for flute/violin/oboe & continuo in G major, Op. 13/4 - Giuseppe Sammartini & George Malcolm (9:33)
  6. 21–24 Sonata for recorder & continuo in F major, SF. 765 (Op. 2/1 or in D major, Op. 1/1) - Benedetto Marcello & George Malcolm (9:09)
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Album Credits

Performance Credits
Michala Petri Primary Artist
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