Thursday evening, Miss Petri will play works of Vivaldi, Naudot and Heberle at a Mostly Mozart chamber concert and on Friday and Saturday evenings, she will play concertos by Vivaldi and Telemann with the Festival Orchestra.
At 25, Miss Petri has already made a string of highly regarded recordings, and her handful of appearances in New York since her 1983 debut have confirmed the impressions those disks have made.
One player who has lately been attracting a great deal of interest in the recorder is Michala Petri, a soloist from Denmark whose technical agility and exceptional purity of tone have led many listeners to reconsider their attitudes towards the instrument. Meanwhile, three generations of recorder virtuosos have developed techniques that take their instrument far beyond amateur and classroom standards and besides having established themselves among the ranks of early music specialists, these players have helped usher the recorder into modern times by commissioning new works for it. On one hand, educators have seized upon the inexpensive and comparatively easy-to-learn instrument as an ideal vehicle for teaching the rudiments of music - a legitimate enough use, but one that has led many to view recorder playing as a distinctly amateur pastime. A precursor of the flute, the recorder flourished until the 18th century, and then fell out of favor until around 1920, when a circle of British early instrument pioneers rediscovered it.
Among these, perhaps the most unusual rebirth has been that of the recorder. Over the last 60 years or so, champions of the guitar, flute, trumpet, French horn, clarinet and oboe have forged paths through a world dominated by pianists and violinists, and early instruments, frowned upon as obsolete less than a century ago, have been revived and mastered. Whatever else one might say about musical life in the 20th century, it has been a time when virtuoso performers have found audiences for the most unlikely solo instruments.
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