The six works played on this disc—and I cannot recall an earlier recording—were published in Hamburg under the title ''Sonates sans Basse a deux Flutes traverses, ou a deux Violons ou a deux Flutes a bec''. Michala Petri and her partner Elisabeth Selin have opted for treble recorders, instruments for which Telemann wrote in an informed and affectionate way. The set must have been widely admired in the composer's lifetime since it was subsequently published in London, by Walsh, as his Op. 2, and in Paris.
Each sonata is cast in the slow-fast-slow-fast pattern of the Italian sonata da chiesa; and as with so many of his instrumental pieces he gives the movements descriptive rather than mere tempo markings: soave (''gentle''), dolce (''sweet'') and so forth. Telemann may have had flutes and violins in mind as alternative choices here, but he never once deserts the recorder camp by writing in a manner which might show up its weaknesses or limitations. This is comfortable, inventive recorder repertory which stretches the technique of the players rather than the range or capabilities of the instruments themselves. But it is not music which lends itself particularly well to CD format where only recorder specialists might be expected to stay the course. Above all, these are pieces which are fun to play and, in small measure, delightful to listen to.
Michala Petri and Elisabeth Selin are evenly matched in their tonal projection and there is a close rapport in their playing. Dynamic contrasts of this instrument are limited and the range is necessarily small, but I did wonder whether all this music really needed to be played at quite such a consistent mezzo-forte level. It is beautifully articulated and, by and large, lively and rhythmic; but I cannot escape from a feeling of perfunctoriness in some of the passagework. Part of the problem is that both players are parsimonious with ornaments, rigidly avoiding anything in the nature of an appoggiatura. No amount of skilful technique can compensate for lack of imagination, and too much of this sounds to me like accomplished sight-reading by virtuosos. Play it they certainly can, but I have a feeling that Telemann would have castigated them for their lack of fantasy. Enjoyable, but only in parts. Clearly recorded but a shade too close a balance for comfort.'