Since her debut in the mid 1970s Michala Petri has proven herself as one of the great masters of the recorder. The recorder is an instrument which, until the 20th century was pretty much only heard in music written before 1750 or so. Many previous masters such as David Munrow and Franz Brüggen restricted their playing to early music. Petri has certainly broken that mold. She has mastered baroque, renaissance and contemporary music for her instrument as her recent releases demonstrate. And her skills as a musician have only grown stronger and more convincing.
This disc is her celebration of American music for the recorder. We hear four 21st century concerti for the recorder. Composers include Roberto Sierra (1953- ), Steven Stucky (1949-2016), Anthony Newman (1941- ), and (a new name to this reviewer) Sean Hickey (1970- ). These are fine compositions but they are basically mainstream sort of neo-romantic/neo-classical/neo-baroque works. These are all finely crafted compositions but nothing here is experimental. Despite the names all are basically concerti which highlight the interplay between soloist and ensemble. Therein lies the joy.
The disc begins with Roberto Sierra (1953- ) wrote his “Prelude, Habanera, and Perpetual Motion (2016) as an expansion of an earlier recorder and guitar piece but, obviously, with a great deal of expansion and orchestration. Despite its colorful title the work is basically a concerto and a fine one at that. Petri here performs with the Tivoli Copenhagen Philharmonic under Alexander Shelley. From Sierra’s web page there is a link to a video of the premiere here. Sierra, born in Puerto Rico, affirms his skills as a composer in this exciting work.
Next up is music of the late Steven Stucky (1949-2016) sadly known almost as much for his recent demise as for his compositions. However Petri’s performance of his “Etudes” (2000) for recorder and orchestra goes a long way to affirming some of the gravity of the talent we lost and the wonderful legacy he left. The Danish National Symphony under Lan Shui do a fine job of handling the complex orchestral accompaniment and Petri shines as always. This concerto is in three movements titled: Scales, Glides, and Arpeggios respectively.
Anthony Newman (1941- ) is a name that must be familiar to classical recording buyers in the late 1970s into the 1980s when Newman’s exciting recordings of Bach dominated record sales. It is no wonder that he composed an essentially neo-baroque concerto pitting the recorder against an ensemble consisting of a harpsichord (deliciously played by Newman) and a string quartet (in this case the Nordic String Quartet). Clearly a more suitable sized ensemble that might have been used in the 18th century. This is the only piece on this album that is actually called a concerto by its composer. Concerto for recorder, harpsichord, and strings (2016) in four movements (Toccata, Devil’s Dance, Lament, and Furie) shows this performer, musicologist, and composer at the height of his powers in this lovingly crafted work.
Last (and certainly not least as the cliché goes) least is by a composer unfamiliar to this reviewer, Sean Hickey (1970- ) is also the youngest composer here. His A Pacifying Weapon (2015) is subtitled, “Concerto for Recorder, Winds, Brass, Percussion and Harp” which tells you about the rather gargantuan dimensions of his work. While not representing a specific “program” the work is the only one on this CD that espouses some political content. The title reflects the composer’s desire to use this concerto to represent some of his response to “current events”. The three movements are simply numbered 1, 2, and 3. I can only begin to imagine the problems of balancing the little recorder against such a huge and loud ensemble but the Royal Danish Academy of Music under conductor Jean Thorel are clearly up to the task.
Hickey originally hails from Detroit and is now based in New York. A quick perusal of his web page suggests that listeners like your humble reviewer have much to hear from this up and coming young composer.
All these are world premiere recordings which show Michala Petri at the height of her powers. Indeed she is an international treasure whose instrumental skills and her range of repertory continue to amaze and entertain her audience. The recording under Lars Hannibal’s direction is, as usual, lucid and very listenable. Joshua Cheeks liner notes save this writer a great deal of research time and pretty much answered all this listener’s questions.
Happy listening all. This recording has it going on at many levels.