The name of the young Czech virtuoso Michaela Koudelkova should be commited well to memory. She has far more going for her than just the names of her teachers (Peter Holtslag, Erik Bosgraaf). She is a winner of the Tel Aviv Recorder Competition and a fnalist of the York Early Music International Young Artists Competition in England, and her solo recitals have included an appearance at the prestigious Oude Muziek Festival in Utrecht.

Her Supraphon debut, for which she has chosen masterworks by Handel and Corelli, showcases her uncompromising technique, but above all it shows her supreme musical sensitivity and her interpretive stylishness, including the ability to improvise, participating in the recreation of notated works. Of all the sonatas listed on the album, only one is intended for her instrument;the rest were originally for violin or transverse fute. Of course, a characteristic of the baroque era was great freedom in the choice of solo instruments, as is clear from period printed editions, and the recorder was very popular at the time.

Besides the most common alto and soprano recorders, the recording also features an instrument with a darker timbre, the voice fute in D, which was popular in England, and the sixth fute, pitched an octave higher and ofen used for music played between acts of Handel's London operas.