Bach: Orchestral Suite, BWV 1067; Konzert, BWV 1044; Brandenburg Concerto No. 2, BWV 1047; Telemann: Suite for Alto Recorder, Strings & Basso Continuo, TWV 55 A2. Michala Petri, recorder; Berlin Baroque Orchestra. RCA 74321-57130-2.

Bach: Orchestral Suite, BWV 1067; Konzert, BWV 1044; Brandenburg Concerto No. 2, BWV 1047; Telemann: Suite for Alto Recorder, Strings & Basso Continuo, TWV 55 A2. Michala Petri, recorder; Berlin Baroque Orchestra. RCA 74321-57130-2.

The Baroque works represented on this disc are showpieces for the talents of Ms. Petri, who plays variously on tenor, alto, soprano, and sopranino recorders as the works demand. Her execution is virtuosic in each piece, yet always joyful and well-paced. The dynamic shadings in the Bach Orchestral Suite are especially well rendered, at times making me wonder if it were really she and the orchestra responsible or if the engineer, too, had a hand in the matter. Perhaps a little of both. The result is the same: subtle nuances of expression adding to the general good cheer of the performances. In fact, Bach's Orchestral Suite and Brandenburg No. 2 were so good, so infectious, so high spirited, I forgot for a moment they were exhibitions of Ms. Petri's recorder technique and found myself wishing to hear the other three Suites and the other five Concertos! The pairing of Telemann's Suite for Orchestra with Bach's makes for a nice comparison in the styles of these contemporaries. Bach still shows the greater imagination, but I was surprised at how enjoyable I found the Telemann after not hearing it for many years. Yet it may again have been Ms. Petri's festive interpretations that made the two composers sound so alike. Her flute work is accompanied superbly by the Berlin Baroque Orchestra, members of the Berlin Philharmonic who came together in 1995 to present authentic performing practices on modern instruments. They certainly achieve their aims on this recording, combining their quick tempos with a suave elegance.

RCA's sound is fairly close up and not the last word in transparency; nor is the imaging particularly truthful, the instruments somewhat lumped together across the stage, and the acoustic a bit closed in. But the sonics exhibit an easy smoothness that makes for comfortable listening, even to the attendant harpsichord, though it should surely have more presence than it does here. Dynamics are moderate, as is the frequency range, with highs appearing slightly rolled off. So, while the sound is not entirely natural, it is cozy and pleasant, making the whole program a worthwhile musical experience.