DEBUT (NUM 1154)

CÉSAR FRANCK (1822-1890)
Sonata para Violino e Piano em Lá Maior
Sonata for Violin and Piano in A Major

1. Allegretto ben moderato
2. Allegro
3. Recitativo-Fantasia: Ben Moderato
4. Allegretto poco mosso

EDVARD GRIEG (1843-1907)
Sonata para Violino e Piano em Dó menor Op. 45
Sonata for Violin and Piano in C minor Op. 45

5. Allegro molto ed appassionato
6. Allegretto espressivo alla Romanza
7. Allegro animato


Jornal de Letras, Maria Augusta Gonçalves, April 2008

"To include, in the debut recording, the Sonata for violin and piano of César Franck and the third and last Sonata of Edvard Grieg is so much a personal challenge as a manifesto: they are two healthy key-works of the final full, intense, and romantic expression, although of diverse nature among them, both very demanding, in interpretative terms. Besides, they are not rare works in recital, even less in good recordings, being paired together or not. From the versions of Itzhak Perlman and Martha Argerich (EMI) and Pierre Amoyal and Pascal Rogé (Decca), to the ones of Augustin Dumay and Maria João Pires (DG) or of Takako Nishizaki and Jeno Jando (Naxos), no memory lacks neither possibilities of comparison. Bruno Monteiro, however, imposed the bet to himself and it can be said that he defeated – the attention to the detail, the correct phrasing and the care in the expression. Everything is clear, sincere and vehement. The Sonata of César Franck establishes a landmark in the French chamber music of the XIX century. Preceding in a few months the Symphony and the String Quartet, it acquires something of the dimension of the big works of the Belgian composer, establishing a thematic connection between the different movements – a cyclical structure that is transformed continuously, defining the almost hypnotic and brilliant character of entire work. The third and last Sonata of Grieg, equally composed in 1886, presents a distinct nature, in which tragic feeling predominates, accentuated by lines of bigger dramatism, that require the lucidity of the interpreter – what doesn’t lack in Bruno Monteiro, so little the contention with the vibrato, what constituted one of the many points to his favour. In the two works that require a dialogue on equal terms with the piano, there is still to emphasize the empathy between both musicians and the interpretation of João Paulo Santos, whose perfect expertise can be measured in the beginning of the second movement of the Sonata of Grieg or in the exposition of the second theme of the first movement of the Franck. The CD appears after years of Bruno Monteiro’s work in the United States, where he studied with Gerardo Ribeiro, after the Bachelor degree at the Manhattan School of Music. Ribeiro possesses by the way one of the good interpretations of the Mendelssohn violin Concerto (EMI), exactly the work that Bruno Monteiro is going to take to CCB, on the 19th, with the English Chamber Orchestra."


Diário de Notícias, Bernardo Mariano, February 2008

"One of the more certain values of the new generation of the Portuguese violin.”


Público, Pedro Boléo, November 2007

"In the centenary of Grieg's death, fortunately appears this disk of two excellent Portuguese musicians. A careful and worked interpretation in the smallest details of phrasing and expression. The music of these romantics of the second half of the XIX century, of extreme romance, is played with big sincerity and arises full of intention and expressiveness. The sonata of Franck, one of the most known of the French composer, is a thrilling piece for his virtuouso violinist friend, Eugène Ysaÿe. The work of Grieg, well anchored in the aesthetics of the late romantic period, combines impetuousness and lightness. Being a simple composition and with some inevitable clichés of its time, is none the less a captivating sonata of the Norwegian composer 100 years after his death. It feels especially in this disk a musical complicity and indispensable aesthetics in the connection of the piano of João Paulo Santos, an excellent interpreter of chamber music (and not only) and Bruno Monteiro, doubtless one of the primiere Portuguese violinists of the present time. The sound of the recording in general is very good."


Jornal de Notícias, Rui Branco, September 2007

"Hypnotic and crystalline sound"