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David Threasher
Gramophone, February 2020

Michala Petri uses a range of recorders, preferring Moeck Elert instruments for slow movements and Moeck Rottenburgh (tenor) or Mollenhauer (alto) for faster music. Esfahani’s harpsichord is a modern construction inspired by a Berlin instrument from 1710. Hille Perl plays a Matthias Alban gamba from 1686. Ornamentation is liberal but always tasteful, and balanced by an innate feeling for when to play the music just as plainly as it appears on the page. Esfahani’s exploratory approach to accompaniment and continuo realisation, and judicious deployment of the registrational variations available, keeps the textures buoyant. © 2020 Gramophone Read complete review on Gramophone



David Reznick
Fanfare, January 2020

Michala Petri plays the recorder with such virtuosity, such command, such beauty of tone that I’ve never heard on records. I’m not making a study of it, but I’d wager that no one else could play these sonatas any better. Her colleagues on the harpsichord and viola da gamba are doing exactly what they should be doing, and with great distinction. They have also recorded extensively on their own, with excellent results, so this release is no surprise. © 2020 Fanfare Read complete review



Bertil van Boer
Fanfare, January 2020

The harpsichord playing by Esfahani is likewise well adapted to blend with the recorder, and yet emerge on its own, such as in the B-Minor Sonata, BWV 1030, where the harpsichord and recorder perform a delicate contrapuntal duet in the third movement. The gamba is a bit discrete, as it should be, though it provides a sound and often solid foundation. In short, this is one fine recording. There are many out there that feature the flute, but as an excellent alternative, one should explore this disc. What we have here is a performance that is outstanding, lending a new vision to how Bach might be interpreted. © 2020 Fanfare Read complete review



Dave Saemann
Fanfare, January 2020

Gambist Hille Perl is a serenely beautiful player, and her tone complements Petri on alto and tenor recorders superbly. Perl and Mahan Esfahani on harpsichord mesh their sounds elegantly and with great heart. Here is formidable Bach playing that wears its laurels lightly.

My favorite performance of these works on the modern flute is by Laurel Zucker. Michala Petri’s artistic maturation is strongly on display here. This is Bach you will return to over and over. Highly recommended. © 2020 Fanfare Read complete review



Colin Clarke
Fanfare, January 2020

Musically rich, vibrant performances here from three top performers. Michala Petri needs no introduction, surely (neither does her 1991 album of these Bach Sonatas with Keith Jarrett), while Mahan Esfahani has been redefining our ideas around the harpsichord for some time. Together with German gambist Hille Perl, they present a set of Bach sonatas that combined beauty, intellect and historical awareness to provide a sublime musical experience. This is OUR Recordings’ 40th release, and the performances seem to speak of life and vivacity that implies there are many more to come. © 2020 Fanfare Read complete review



Grego Applegate Edwards
Gapplegate Classical-Modern Music Review, December 2019

Ms. Petri gives the transposed flute part a beautifully plaintive tone on the recorder and has breathtaking velocity for the nearly concerted allegro movements. Hille Perl and Mahan Esfahani sound regal and lucid in the realization of their parts throughout. One can gain much both listening to the whole and then to each part, which of course is a testament to the thoroughgoing genius of Bach and the beautiful playing of the trio.

I recommend this recording to you without hesitation. It is a benchmark surely for these works, filled with beauty and wonder. © 2019 Gapplegate Classical-Modern Music Review Read complete review



Rick Anderson
Baker & Taylor CD Hotlist, December 2019

Bach’s flute sonatas are not new repertoire, of course; they’ve been widely interpreted in a variety of presentations. But the fact that recorder virtuoso Michala Petri has turned her attention to them (again, following her widely-praised 1998 recording alongside Keith Jarrett, without a cello or gamba player) is certainly good news. And this time she’s brought along harpsichordist Mahan Esfahani and viola da gamba player Hille Perl, filling out the sound nicely. As always, Petri’s playing is exceptionally lovely, and she manages to shed new light on these evergreen works-partly through the harder timbre of the recorder, and partly through her own deep knowledge and love of Bach’s music. Recommended to all libraries. © 2019 Baker & Taylor CD Hotlist



Jean-Yves Duperron
Classical Music Sentinel, December 2019

On this new CD on OUR Recordings 40th release, she revisits the Six Flute Sonatas by Johann Sebastian Bach which she had previously recorded in 1992 with Keith Jarrett on harpsichord. A recording that has now reached legendary status. This time around her continuo ensemble includes Mahan Esfahani on harpsichord, and Hille Perl on viola da gamba, both highly esteemed musicians in their respective fields. All of the Allegro movements are distinctly agile and bouncy, marked by a rapid forward rhythmic pulse, while the slow movements are shaped by nobility and grace. All three musicians are always in perfect sync, lending the music an appreciable dance character. © 2019 Classical Music Sentinel Read complete review




Guy Engels
Pizzicato, November 2019

…With Michala Petri and her recorder, the compositions are also in the best of hands. In the booklet her harpsichord partner Mahan Esfahani raises not without good reason the question whether musical communication is ultimately more important than the choice of the instrument. He as well as his partners Michala Petri and Hille Perl also give the right and unquestionable answer.

Michala Petri plays the six sonatas with refreshing esprit and brilliant rhetoric. There is no hint of academicism and learned formal language to be felt here. Although the recorder is the spokesperson, her playing never seems cheeky and dominant. The three musicians know exactly what a balanced dialogue is and how to have a lively conversation with each other and with the listener. © 2019 Pizzicato Read complete review





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