Katherine Hay dubbed her Saturday evening recital "Many Voices of the Flute" and, during the course of that elegant program, demonstrated that her instrument is capable of much more than the delicate, airborne sound we've come to expect. Hay's assured but somehow detached style of performance, coupled with the lush tones she produces in the middle and lower registers, allowed the wildly varied music to speak independently. First came the gentle, wistful threads of Jacques Ibert's "Aria," then the hollow, open-fields sound of Copland's "Duo for Flute and Piano," and suddenly the air exploded with the ptoos and trrrrrrrs and atonal thrashings of Maryland composer Robert Hall Lewis' "Monophony I."

Shortly thereafter the Jewish Community Center's Kreeger Auditorium was slathered in the musical whipped cream of Franz and Karl Doppler's "Hungarian Fantasy," with Hay and flutist Rebecca Troxler engaging in a most fey and virtuosic duet. By contrast, there was Debussy's plaintive, lean "Syrinx," each note following the next like pearls on a string; a demure, almost recessive performance of Bach's B-Minor Sonata; the waltzy, wafting scales and arpeggios of Faure's "Fantasie." Best of all was local composer Robert Parris' "Duo for Flute and Violin," in which Hay and violinist Helmut Braunlich conversed by means of alternately frenzied and sustained pluckings, hoots, screeches and calls.

Pianist Barbro Dahlman, who specializes in the performance of contemporary works (she, Hay and Braunlich are members of the Contemporary Music Forum), accompanied in an unadorned, severely direct style suited perfectly to the 20th-century works and to Bach, but out of place in the froth of the "Hungarian Fantasie." --Pamela Sommers