Corellimania Michala Petri, Hille Perl, Mahan Esfahani

• Arcangelo Corelli (1653 - 1713): Trio Sonata in B Minor, Op. 3 No. 4 (Arr. for Recorder, Viola da gamba & Harpsichord by Anonymous):
• 1 Corelli: Trio Sonata in B Minor, Op. 3 No. 4 (Arr. for Recorder, Viola da gamba & Harpsichord by Anonymous): I. Largo 02:24
• 2 Corelli: Trio Sonata in B Minor, Op. 3 No. 4 (Arr. for Recorder, Viola da gamba & Harpsichord by Anonymous): II. Vivace 01:30
• 3 Corelli: Trio Sonata in B Minor, Op. 3 No. 4 (Arr. for Recorder, Viola da gamba & Harpsichord by Anonymous): III. Adagio 02:06
• 4 Corelli: Trio Sonata in B Minor, Op. 3 No. 4 (Arr. for Recorder, Viola da gamba & Harpsichord by Anonymous): IV. Presto 01:27
• Johann Sebastian Bach (1685 - 1750): Fugue on a Theme by Corelli, BWV 579 (Arr. for Recorder, Viola da gamba & Harpsichord by Anonymous):
• 5 Bach: Fugue on a Theme by Corelli, BWV 579 (Arr. for Recorder, Viola da gamba & Harpsichord by Anonymous) 04:34
• George Frideric Handel (1685 - 1759): Recorder Sonata in D Minor, HWV 367a:
• 6 Handel: Recorder Sonata in D Minor, HWV 367a: I. Largo 01:56
• 7 Handel: Recorder Sonata in D Minor, HWV 367a: II. Vivace 03:01
• 8 Handel: Recorder Sonata in D Minor, HWV 367a: III. Furioso 02:03
• 9 Handel: Recorder Sonata in D Minor, HWV 367a: IV. Adagio 01:21
• 10 Handel: Recorder Sonata in D Minor, HWV 367a: V. Alla breve 01:48
• 11 Handel: Recorder Sonata in D Minor, HWV 367a: VI. Andante 03:21
• 12 Handel: Recorder Sonata in D Minor, HWV 367a: VII. A tempo di menuet 02:02
• Harpsichord Suite No. 1 in B-Flat Major, HWV 434:
• 13 Handel: Harpsichord Suite No. 1 in B-Flat Major, HWV 434: I. Prelude 02:38
• 14 Handel: Harpsichord Suite No. 1 in B-Flat Major, HWV 434: II. Sonata 01:33
• 15 Handel: Harpsichord Suite No. 1 in B-Flat Major, HWV 434: III. Aria con variazioni 04:43
• 16 Handel: Harpsichord Suite No. 1 in B-Flat Major, HWV 434: IV. Minuet 03:22
• Duetto No. 1 in E Minor, BWV 802 (Arr. for Recorder & Viola da gamba by Anonymous):
• 17 Bach: Duetto No. 1 in E Minor, BWV 802 (Arr. for Recorder & Viola da gamba by Anonymous) 02:54
• Duetto No. 2 in F Major, BWV 803 (Arr. for Recorder & Viola da gamba by Anonymous):
• 18 Bach: Duetto No. 2 in F Major, BWV 803 (Arr. for Recorder & Viola da gamba by Anonymous) 03:29
• Duetto No. 3 in G Major, BWV 804 (Arr. for Recorder & Viola da gamba by Anonymous):
• 19 Bach: Duetto No. 3 in G Major, BWV 804 (Arr. for Recorder & Viola da gamba by Anonymous) 02:45
• Duetto No. 4 in A Minor, BWV 805 (Arr. for Recorder & Viola da gamba by Anonymous):
• 20 Bach: Duetto No. 4 in A Minor, BWV 805 (Arr. for Recorder & Viola da gamba by Anonymous) 02:42
• Georg Philipp Telemann (1681 - 1767): Trio Sonata No. 2 in A Major, TWV 42:A5:
• 21 Telemann: Trio Sonata No. 2 in A Major, TWV 42:A5: I. Largo 01:23
• 22 Telemann: Trio Sonata No. 2 in A Major, TWV 42:A5: II. Allemande 02:39
• 23 Telemann: Trio Sonata No. 2 in A Major, TWV 42:A5: III. Sarabanda 02:28
• 24 Telemann: Trio Sonata No. 2 in A Major, TWV 42:A5: IV. Corrente 02:25
• Johann Sebastian Bach: Von Gott will ich nicht lassen, BWV 658 (Arr. for Recorder, Viola da gamba & Harpsichord by Anonymous):
• 25 Bach: Von Gott will ich nicht lassen, BWV 658 (Arr. for Recorder, Viola da gamba & Harpsichord by Anonymous) 04:48
• Arcangelo Corelli: Violin Sonata in D Minor, Op. 5 No. 12 "La folia" (Arr. for Recorder, Viola da gamba & Harpsichord by Anonymous):
• 26 Corelli: Violin Sonata in D Minor, Op. 5 No. 12 "La folia" (Arr. for Recorder, Viola da gamba & Harpsichord by Anonymous) 10:09
• Total Runtime 01:15:31

Info for Corellimania

Michala Petri
has performed more than 4000 concerts in the worlds leading festivals and Concert Halls,and has broken down the boundaries of her instrument, the recorder.

Since her youth, she has followed her wish for musical expansion in various ways, through commissioning more than 150 new works, through dialogue with other musical cultures and through developing new playing techniques.

Artists with whom she has collaborated include Keith Jarrett, Sir Neville Marriner, James Galway, Gidon Kremer, Heinz Holliger, Henryk Szeryng, Pinchas Zukermann, Maurice Andre, Joshua Bell, Mahan Esfahani and Claudio Abbado. Among composers having composed for her are Sir Malcolm Arnold, Gordon Jacob, Per Nørgaard, Vagn Holmboe, Pelle Gudmundsen-Holmgreen, Olav Anton Thommessen, Sunleif Rasmussen, Bent Sørensen, Steven Stucky, Joan Albert Amargos, Chen Yi, Bright Cheng, Ander and Thomas Koppel and Daniel Børtz.

She has received the Leonie Sonning Music Prize, Europa Musicale Soloist Prize, three times the German ECHO KLASSIK Award, amongst others. She has recorded more than 70 cds, several having been Grammy-nominated.

Her repertoire spans works from the Baroque, Classicism, Romanticism and extends into contemporary and improvised music. It is precisely this versatility that lies behind her special appeal as an artist.

A daughter of a violinist and a pianist, both with interest in contemporary music, she already as a child became interested in expanding the possibilities of her own instrument, to make it match the sounds she grew up hearing.

She started her formal education at age 11 at Staatliche Hochschule für Musik und Theater in Hannover, Germany, with Professor Ferdinand Conrad. At the time of her studies the recorder was mainly considered only an instrument for baroque music, but already then many of today's composers were composing works for her.

The first work dedicated to her was from Danish Fluxus artist Henning Christiansen: "To play for a child. Through the demands she met from new compositions, she further developed various playing techniques, enabling the recorder to have a more varied tone-quality and a larger expression. In spite of advice to take on a "real" instrument she stayed with the recorder - realizing the instruments ability to immediately express the players intentions, being the wind instrument reacting most instantly to the breath of the player. Furthermore she saw a challenge in advocating that good music making is independent of advanced remedies, and in "demystifying" classical concerts, realizing that many people unfamiliar with classical and modern music would be attending her concerts, being familiar with the instrument. Since youth she has made a point of programming contemporary music in her concerts challenging the audience, and advocating that modern music is as accessible as old, if put i the right frame and if performed in an atmosphere of bonding with the audience.

In her wish to extending the instruments limited dynamic potential she has actively collaborated with instrument-makers, and applied her experience to the development of a new type that incorporates her ideas. "With this instrument, which has more dynamics and compass, I can give better expression to the music, with more freedom and naturalness in my expressive range".

From the beginning of her career she has performed with musicians outside the baroque music scene, such as Palle Mikkelborg, Keith Jarrett, Carsten Dahl, Jesper Thilo, Niels Jørgen Steen, Benjamin Koppel and Bjørn Svin.

Her collaboration in the 90s on two cds with Keith Jarrett, gave her a latent interest in the art of improvisation, which is partly required in Baroque music, though within the narrow borders of the rules of that time. The collaboration was initiated by Keith Jarrett, who heard Michala play in concert at New Yorks Lincoln Centre and suggested that they at some point played something together - which let to two albums of Bach Sonatas and Handel Sonatas. Recently she has taken up playing fully improvised concerts, amongst others with Benjamin Koppel and Carsten Dahl.

Booklet for Corellimania