German composer Walter Braunfels built a considerable reputation before the 1930s as composer, pianist and teacher. Since his death in 1954 his operas have been heard again, and Dutton Epoch now presents world premiere recordings of two remarkable concertos, for piano and viola. These are considerable discoveries: the Piano Concerto, Op.21, first performed in 1911, is notable for its sweeping cantilenas, vivid expression and orchestral colour. Victor Sangiorgio is authoritative in the demanding solo part. Over twenty years later came the Schottische Phantasie for Viola & Orchestra, Op.47, a large-scale viola concerto eloquently played by Sarah-Jane Bradley. The programme is completed by the Shakespeare-inspired miniature tone poem Ariels Gesang, Op.18.

Mit deutschem Begleittext

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Piano Concerto op.21 (1910-11) VS
Ariels Gesang op.18 (1910) (after Shakespeare's The Tempest')
Schottische Phantasie for Viola & Orchestra op.47 (1932-33) SJB

BBC Concert Orchestra
Johannes Wildner (conductor)

VS Victor Sangiorgio (piano)
SJB Sarah-Jane Bradley (viola)

* World premiere recording

Recorded at Watford Colosseum, 15-17 April 2013

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"The present coupling, a typically audacious offering from one of our most adventurous labels, will delight readers attracted by expertly crafted late-Romantic fare ..."

"A pleasure, ... to re-encounter the artistry of Sarah-Jane Bradley"

David Gutman, Gramophone, June 2014

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CDLX 7304

“Dutton’s enterprising new release” “Ariels Gesang ... displays Braunfels’s mastery of colourful, indeed phosphorescent impressionism.” “Victor Sangiorgio copes splendidly with the elaborate solo part [Piano Concerto], without imposing himself too much where Braunfels obviously doesn’t want him to.” “Sarah-Jane Bradley … interprets Braunfels’s resonant and piercing (and often challenging) solo part with what seems utter identification and imaginative sympathy, and she’s well supported by the BBC CO under Johannes Wildner.” “... the Scottische Phantasie that is the real discovery, and I urge you to sample it.” Calum MacDonald, International Record Review, March 2014