5 out of 5 Stars for Movement in German Klassik.com
Klassik.com
05 April 2015

Cover vergrößern  Ein Gemälde und drei Konzerte
Kritik von Christian Vitalis, 13.07.2008



Movements: Michala Petri plays Amargós, Börtz and Stucky
Label: Our Recordings




Interpretation:
Klangqualität:
Repertoirewert:
Booklet:




 





Ihren Ruf als reines Einsteigerinstrument wird die Blockflöte wohl so schnell nicht los werden, zahlreicher Bemühungen zum Trotz, das Instrument – etwa durch wirkungsvolle Bearbeitungen für Blockflötenensembles oder neue Konzerte – als vollwertiges Mitglied in der Familie der Blasinstrumente zu bestätigen. Vor einiger Zeit habe ich eine Blockflötenplatte besprochen, in deren Booklet der Solist Dan Laurin die allgemein verbreitete These aufgriff, die Blockflöte sei in ihrem Ausdruckspektrum eingeschränkt und käme gegen ein volles Orchester ohnehin nicht an – um sie dann in musikalischer Weise eindrucksvoll zu widerlegen. Das Studium des Texthefts der vorliegenden CD aus dem Hause Our Recordings mit der dänischen Ausnahme-Flötistin Michala Petri hat da ein leichtes Déjà-vu zur Folge: Hier jedoch ist es mit Michael Stucky einer der Komponisten, der offen zugibt, diesem Vorurteil aufgesessen gewesen zu sein und erst nach dem eindrucksvollen Erlebnis eines Konzertes mit Michala Petri umgestimmt wurde – dann aber war er ‚schnell bekehrt' und hat der bis dahin nicht für sinnvoll erachteten Komposition eines Blockflötenkonzerts sofort zugestimmt.

Klingender Gegenbeweis

Eben dieser Michael Stucky hat sein Konzert ‚Etudes' genannt – und die drei Sätze tragen dann auch etüdenhafte Titel: ‚Scales', ‚Glides' und ‚Arpeggios'. Das Orchester ist eher kammermusikalisch-solistisch besetzt; so ist es schließlich nicht die Solistin allein, die sich mit den geforderten Aufgaben (Tonleitern, Glissandi und gebrochenen Dreiklangsfiguren) herumschlagen muss, sondern sämtliche Instrumente werden in gleichen Maßen an diesem Spiel beteiligt. Es entsteht auf diese Weise eine gleichermaßen geistreiche wie allgemeinverständliche und unterhaltsam andere Art von Konzert, dessen Inhalt sich – in Ergänzung mit der harmonisch unproblematischen Tonsprache – auch denjenigen Musikhörern erschließen sollte, die nicht Mathematik und/oder Tonsatz studiert haben. Noch mehr ‚für das Ohr' sind die beiden anderen Konzerte geschrieben: Daniel Börtz liefert mit ‚Pipes and Bells' ein einsätziges Konzertstück, das den nachdenklichen Mittelteil des Programms bildet; die Farben sind gedeckt, die Musik ist von einer gewissen Stille und verbreitet ein Gefühl melancholischer Einsamkeit, wie es beispielsweise den Betrachter eines Sternenhimmels überkommen kann. Die Rufe der Blockflöte am Ende verhallen im Nichts. Packend und ‚süffig' ist dagegen das effektvolle ‚Northern Concerto' des Spaniers Joan Albert Amargós, das den größten Orchesterapparat aufbietet und sich teilweise der Unterhaltungsmusik annähert: hier darf die Blockflöte auch einmal etwas ‚Swing' verbreiten.



Meisterlich

Alle drei Konzerte sind eigenständig und auf ihre Weise hochinteressant und schön. Michala Petri bestätigt ihren herausragenden Ruf – sie beherrscht die Blockflöte meisterlich und zeichnet sich nicht nur durch technische Brillanz und hochvirtuose Beweglichkeit aus, sondern fällt insbesondere durch ihren absolut runden und vom Anblasen bis zum Verhallen vollends beherrschten reinen Ton auf, bei dem es keinerlei Trübungen in Klangfarbe oder Intonation zu beanstanden gibt. Die diversen Stimmungslagen der drei Konzerte werden darüber hinaus sehr einfühlsam herausgearbeitet. Absolut überzeugend! Das vom Chinesen Lan Shui geleitete Danish National Symphony Orchestra ist hochmotiviert bei der Sache und bildet den idealen Begleiter. Ob transparente Klangtupfer wie in Stuckys ‚Etüden' oder fulminante Klangmassen wie in Amargós' Konzert, stets überzeugen die Orchestermusiker auf hohem Niveau, und stets bleibt das runde Klangbild aufnahmetechnisch perfekt ausgewogen in der Balance zwischen Solistin und Begleitung; insbesondere der Mehrkanal-Klang der SACD ist sehr gut gelungen und bietet ein hohes Maß an Plastizität. Darüber hinaus ist der Ton in allen Abspielmodi sehr natürlich; die Klangereignisse sind in allen Schichten gut durchhörbar. Das Textheft – das seine Beiträge in englischer wie spanischer Sprache präsentiert – ist nett aufgemacht und auch recht informativ; reizvoll ist der genreübergreifende Aufhänger, das Projekt über ein Gemälde zu erschließen; dieses Bild, das wohl nicht zufällig von einem dänischen Künstler stammt, ist dann auch auf dem Cover abgebildet ist und hat zudem den Titel der Produktion geliefert.

Klassik.com

Sequensa 21 on Movements
Sequenza 21
01 April 2015
Jan 27 2008

Movements: Michala Petri plays Amargos, Börtz, Stucky
Posted by Lanier Sammons in CD Review, Lanier Sammons

Michala Petri, recorder
Danish National Symphony Orchestra / DR
Lan Shui, conductor

OUR Recordings


--------------------------------------------------------------------------------
Movements features three pieces that place perhaps the most humble of instruments, the recorder, in the least humble of settings, the concerto. While the idea of a recorder concerto probably conjures up images antithetical to new music, Michala Petri, the featured soloist on this disc, is out to dispel those associations. To that end, Petri commissioned three contemporary composers and gave us a disc that features compositions for her instrument all written within the 21st century.

The first of these is Joan Albert Amargí³s' Northern Concerto. Amargí³s' bio references jazz and flamenco traditions along with the classical, and melodic influences from those worlds pop up throughout the concerto. I can't say that the appearances of these influences always blend cohesively, but owing to the strength of the melodies, I didn't mind too much. It's an undeniably drinkable piece that takes some chances pitting the recorder against the full orchestra and largely succeeds. In fact, Petri's recording earned the piece a Grammy nomination (scroll down to category 107).

Daniel Bōrtz's one-movement concerto, Pipes and Bells, takes a completely different tack, focusing on the recorder's distinctive timbre. Particularly nice is his opening pairing of the recorder and the bass clarinet with some brass stabs thrown in for contrast. At various places in the work the titular bells ring, again offering spectral contrast with the simple profile of the recorder's pipe. Bōrtz also consistently gives the recorder plenty of space. The orchestra mostly provides a textural bath, occasionally churning itself into a crashing wave.

The final concerto is Steven Stucky's Etudes. Like most good works of that title, the piece avoids sounding like any sort study. The three movements promise scales, glides, and arpeggios respectively. Those techniques are certainly delivered, but unobtrusively and always musically. Indeed, it's here that the recorder sounds most at home with the rest of the orchestra.

With these three clever commissions, Petri offers a convincing argument that the recorder can achieve a place outside of its historical niche. Not once on the disc do Petri and her instrument sound out of place despite the new music context and the potency of the full orchestra. In fact, I'd imagine that these concertos would work quite well on any orchestra's program.


Sequenza 21

Sequenza 21 on Movements
Sequenza 21
01 April 2015
OUR Recordings


--------------------------------------------------------------------------------
Movements features three pieces that place perhaps the most humble of instruments, the recorder, in the least humble of settings, the concerto. While the idea of a recorder concerto probably conjures up images antithetical to new music, Michala Petri, the featured soloist on this disc, is out to dispel those associations. To that end, Petri commissioned three contemporary composers and gave us a disc that features compositions for her instrument all written within the 21st century.

The first of these is Joan Albert Amargós' Northern Concerto. Amargós' bio references jazz and flamenco traditions along with the classical, and melodic influences from those worlds pop up throughout the concerto. I can't say that the appearances of these influences always blend cohesively, but owing to the strength of the melodies, I didn't mind too much. It's an undeniably drinkable piece that takes some chances pitting the recorder against the full orchestra and largely succeeds. In fact, Petri's recording earned the piece a Grammy nomination (scroll down to category 107).

Daniel Börtz's one-movement concerto, Pipes and Bells, takes a completely different tack, focusing on the recorder's distinctive timbre. Particularly nice is his opening pairing of the recorder and the bass clarinet with some brass stabs thrown in for contrast. At various places in the work the titular bells ring, again offering spectral contrast with the simple profile of the recorder's pipe. Börtz also consistently gives the recorder plenty of space. The orchestra mostly provides a textural bath, occasionally churning itself into a crashing wave.

The final concerto is Steven Stucky's Etudes. Like most good works of that title, the piece avoids sounding like any sort study. The three movements promise scales, glides, and arpeggios respectively. Those techniques are certainly delivered, but unobtrusively and always musically. Indeed, it's here that the recorder sounds most at home with the rest of the orchestra.

With these three clever commissions, Petri offers a convincing argument that the recorder can achieve a place outside of its historical niche. Not once on the disc do Petri and her instrument sound out of place despite the new music context and the potency of the full orchestra. In fact, I'd imagine that these concertos would work quite well on any orchestra's program.

This entry was posted on Sunday, January 27th, 2008 at 6:54 pm and is filed under CD Review, Lanier Sammons. You can follow any responses to this entry through the RSS 2.0 feed. You can leave a response, or trackback from your own site.
Sequenza 21

New US review on Movements in Fanfare Magazine
Fanfare Magazine
17 November 2010
If your idea of a recorder concerto hasn't progressed beyond the Baroque, "Movements"— will be a revelation, for here are three large-scale works that place the instrument firmly in the 21st century. Amargòs's Northern Concerto is astonishing for its color, brilliant orchestration, and sheer sweep. The intoxicating opening theme, the fluid mix of tumultuous and lightly textured orchestral writing, allowing the enthusiastic piping of the recorder to be heard without strain, and the sophisticated, yet earthy rhythms confer immediate, sensuous delight. Stunning clarity and an exceptionally animated performance by soloist and orchestra—a tribute to the conductor's skill as well as to his players' virtuoso technique—unite in a sonic spectacular. I couldn't help but respond to Amargòs's exuberance, especially given my fondness for splashy, exotically tinged music. Pipes and Bells, Daniel Börtz's one-movement concerto, opens with a mysterious passage that's followed by rhythmically charged outbursts and moments of pastoral poetry. The recorder's soft "cuckoo, cuckoo" seems to emerge from and then recede into a mist as the music fades away. Writing about it, Hannibal explains that "Bortz responded to Michala's wish to explore new and stronger dynamics, recently made possible thanks to some newly acquired instruments: he wrote dramatic dynamic changes and quick passages for the large and usually soft tenor recorder; conversely, the small, normally penetrating and aggressive sopranino is asked to produce soft, long-held tones. This approach affected not only the contrast between the two instruments, but also the extreme dynamics between the soloist and the orchestra, through a mixture of soft, delicate and angelic passages and loud, almost diabolical passages." Steven Stucky's Etudes is much more sophisticated than the titles of its movements—"Scales," "Glides," and "Arpeggios"—might suggest. Alternately puckish, languorous, and jaunty, it's consistently colorful and inventive: the inspired orchestration always provides a perfect foil for Petri's agile, atmospheric playing. In sum, this is a fabulous disc, filled with wonderful music and performances that enlarge our appreciation of the recorder's possibilities.
Fanfare Magazine

Sequenza21 Review on Movements
Sequenza 21
14 November 2009
Movements features three pieces that place perhaps the most humble of instruments, the recorder, in the least humble of settings, the concerto. While the idea of a recorder concerto probably conjures up images antithetical to new music, Michala Petri, the featured soloist on this disc, is out to dispel those associations. To that end, Petri commissioned three contemporary composers and gave us a disc that features compositions for her instrument all written within the 21st century.

The first of these is Joan Albert Amargós' Northern Concerto. Amargós' bio references jazz and flamenco traditions along with the classical, and melodic influences from those worlds pop up throughout the concerto. I can't say that the appearances of these influences always blend cohesively, but owing to the strength of the melodies, I didn't mind too much. It's an undeniably drinkable piece that takes some chances pitting the recorder against the full orchestra and largely succeeds. In fact, Petri's recording earned the piece a Grammy nomination.

Daniel Börtz's one-movement concerto, Pipes and Bells, takes a completely different tack, focusing on the recorder's distinctive timbre. Particularly nice is his opening pairing of the recorder and the bass clarinet with some brass stabs thrown in for contrast. At various places in the work the titular bells ring, again offering spectral contrast with the simple profile of the recorder's pipe. Börtz also consistently gives the recorder plenty of space. The orchestra mostly provides a textural bath, occasionally churning itself into a crashing wave.

The final concerto is Steven Stucky's Etudes. Like most good works of that title, the piece avoids sounding like any sort of study. The three movements promise scales, glides, and arpeggios respectively. Those techniques are certainly delivered, but unobtrusively and always musically. Indeed, it's here that the recorder sounds most at home with the rest of the orchestra.

With these three clever commissions, Petri offers a convincing argument that the recorder can achieve a place outside of its historical niche. Not once on the disc do Petri and her instrument sound out of place despite the new music context and the potency of the full orchestra. In fact, I'd imagine that these concertos would work quite well on any orchestra's program.

Lanier Sammons

To read this review online and post comments, click here.
Sequenza 21

American Record Guide Review on Movements
American Record Guide
25 February 2009
A complete analysis of American orchestral programming is, as we say in academic writing,"beyond the scope of this essay" but I want to posit a general theory here: these stellar works will probably not be heard on stage in the USA anytime soon. True, some orchestras are at least a little adventurous in programming these days and deserve at least a modicum of credit for trying new things. But it is a safe bet that most music directors and arts administrators, when faced with a choice between a brilliant new concerto played on a less popular instrument (e.g. recorder) and an old familiar soloist or repertoire selection will make the predictable, safe choice. That is too bad. I would maybe even purchase a subscription if I thought that my ears, brain, and heart would be chalIenged at least once in a while.

Michala Petri is clearly an excellent musician, and the Danish National Symphony is a highly disciplined, competent ensemble. If you like challenging new music that is not academic, but still brilliantIy conceived, find this. If you do not hear this played by your local orchestra in the next decade, write a letter or stop going. Better yet, spend some time in Denmark,where it seems you can love great music and have a brain at the same time!
American Record Guide

10/10/10 for Movements
Markus Zahnhausen
16 October 2008
Klassik Heute

That the flute in the last quarter of the twentieth century has been kept in the major concert halls of the world, is in large part thanks to the Danish recorder player Michala Petri. Sometimes eyed enviously, it is always her way away from an old music scene. Her unprecedented international success has its rights. Once a virtuoso miracle child, Michala Petri is now more grownup than ever before - this CD proves it - a mature artist personality. Consistently supported by major record companies, and together with her husband and Duo partner Lars Hannibal, she has founded her own CD label, to be even more devoted to the repertoire which is close to her heart.

A number of years ago, the CD "Moon Child's Dream" presented some contemporary concertante works for the instrument. "Movements" finally brings three new recorder concerts, especially composed for Michala Petri. All three are exquisitely composed and could hardly be more different.

The Catalan Joan Albert Amargós is one of the most important living composers in Spain. His 2005 Northern Concerto betrays the sovereign master of timbre and the orchestra set. Amargós' music embraces its origin, a mixture of Mediterranean color and fiery rhythms, which quite surely conceals their color and immediacy into the concert repertoire's likely tracks. Noticeably, the effect of Amargós' music is not based on superficial variety, but on the masterly control and amalgamation of form, color and content.

No less convincing is the 2002-written Pipes and Bells from Swedish composer Daniel Börtz. He also belongs to the prominent figures of music life. It is already his second konzertantes works for flute and orchestra (to A Joker's Tales, composed in 1999/2000 for Dan Laurin). Also, Börtz dominated the orchestra masterfully: cleverly combining the recorder at the beginning with the mysterious dark timbre of a bass clarinet. Börtz developed his material as effectively as exciting: powerful, percussive passages, with bright accents of the orchestra of an almost angelic light.

The 2000 Etudes written by the American composer Steven Stucky features dodgy rhythms, scales rapid movements, glissandos and ostinatos deploying atmospheric sound of no less of an effective and unique art.

Michala's artistic personality and her outstanding skills are instrumental to the enrichment of the recorder repertoire with these three major works. A phenomenal recording, wonderful music!

Artistic quality:
10
Sound quality:
10
Overall impression:
10
Markus Zahnhausen (25.05.2007)
Markus Zahnhausen

Classic Today's Review on Movements
Classic Today
27 January 2008
Anyone who claims that the recorder's tiny dimensions cannot possibly compete in a solo capacity against a full-sized 21stcentury
orchestra should investigate these three dazzling and inventive concertos, written for and tailored to Michala Petri's singular virtuosity.

Spanish composer Joan Albert Amargós' three-movement Northern Concerto provides the recorder with limber, jazzy melodies that effortlessly float in, around, and above an orchestral canvas that allows all participants to shine, collectively and individually. The brass and percussion get particularly invigorating workouts, while the finale features unexpected yet delightful solo turns from the bassoon and muted trumpet.
By contrast, Swedish composer Daniel Börtz's Pipes and Bells is a dark, snarling opus, filled with tension-inducing trills, obsessive ostinatos, long notes stretched to the edge of sanity, and the occasional lyrical oasis.

Each of the three movements in Steven Stucky's Etudes goes way beyond merely addressing specific technique. In the first, for example, the orchestral instruments eagerly take up the recorder's scale patterns more-or-less at tempo, only to slow them down and scrutinize them as soft, sustained chords hover in the background. The second movement "Glides" features falling glissandos that are more about melodic nuances and expressive gestures than sound effects. The piano, harp, and percussion set off, complement, and sometimes compete with the recorder's witty arpeggios throughout the third movement.

The sheer musicality and sense of character Petri brings to these works almost make you take her extraordinary technique and tone control for granted. Lan Shui's brilliant leadership inspires the Danish National Symphony Orchestra/SR to convey all of the color and vivacity that these scores demand, helped by the Danish Broadcasting Production team's breathtaking engineering.

Don't miss this stunning release!
--Jed Distler
Classic Today