It turns out that there is more than one Danish composer with the surname Koppel. Not to be confused with Herman D. Koppel (whose excellent symphonic work I reviewed earlier–type Q7371 and Q2462 in Search Reviews), Thomas Koppel, who died just this year, actually is Herman’s son. Thomas lived up to his father’s legacy, producing music of equally high quality and originality (though quite different in style). The two concertos on the present disc are fresh, lively, and often moving works that, although written in a freely tonal idiom, never become anodyne. Instead, the ear is continuously challenged by shifting colors and harmonies, and most certainly by the virtuoso solo writing that Michala Petri handles with considerable aplomb.
Moonchild’s Dream calls for recorder, an instrument that rarely has sounded so lovely and lively as here, freed from its usual baroque trappings. Koppel has it singing, swirling, and dancing in a most engaging manner. The sopranino recorder part in Los Angeles Street Concerto (which sounds nothing like its name–no roving rock, jazz, or mariachi bands here) is even more demanding, calling for exceptional virtuosity from Petri in both the soothingly serene passages and those in which she reminds us of a piper. The richly atmospheric orchestral score is just as compelling, especially as performed by the Copenhagen Philharmonic (Moonchild) and Kremerata Baltica under Bo Holten.
The poetry-inspired Nele’s Dances is even more unusual. Scored for recorder and archlute, the 10 pieces form wordless songs, with Petri proving a most lyrical storyteller aided by Lars Hannibal’s poignant accompaniments on the guitar. Da Capo’s recording presents both the chamber and orchestral works in a natural-sounding, spacious acoustic, enhancing the aural pleasure. This is a delightful release, essential for Petri fans. [7/27/2006]
