Scherzo para Violino e Piano em Dó menor Wo02
Scherzo for Violin and Piano in C minor Wo02

1. Allegro

GABRIEL FAURÉ (1845-1924)
Sonata n.1 para Violino e Piano em Lá Maior Op.13
Sonata n.1 for Violino and Piano in A Major Op.13
2. Allegro molto
3. Andante
4. Scherzo: Allegro vivo
5. Finale: Allegro quasi Presto

Sonata para Violino e Piano em Si menor
Sonata for Violin and Piano in B minor
6. Moderato
7. Andante espressivo
8. Passacaglia: Allegro moderato ma enérgico

9. Zigeunerweisen Op.20 n.1


Jornal de Letras, Maria Augusta Gonçalves, June 2009

"In less than a year, violinist Bruno Monteiro presents the third CD with pianist João Paulo Santos, after the duo´s debut (Debut), in the Sonatas of César Franck and Edvard Grieg, and the 20th Century Expressions, with works less known of Szymanowski, Bloch and Korngold. Now Bruno Monteiro comes back again to a more traditional repertoire, with origins in the late Romantic period and in the multiple expressions that already opened ways for the first decades of the XX century, maintained the title of the disc, In Recital, and the level of the technical demand of the previous recordings: the Scherzo for violin and piano in c minor Wo02, of Johannes Brahms, the 1st Sonata in A Major by Gabriel Fauré, the Sonata in b minor of Ottorino Respighi, and Zigeunerweisen, Op. 20 n. 1, by Pablo of Sarasate. Four composers of different origins: four illustrative works of everything that separates and approaches them. The piece of Brahms, previous to the big late works of chamber music, summarizes in some way the foundations of the German Romantic period, in a determinant turning point - the beginning of the decade of 1850 - precursory of its greatness. Conceived for the famous violinist Joseph Joachim, the Scherzo reaches an elevated level of virtuosity, as patent in the title, Frei, aber einsam, Free, but alone, imposing the "fate" of the interpreter. The Sonata of Gabriel Fauré, premiered in Paris in 1877, contains all the seduction power of the French composer, in a trend that combines the expressive urgency of the epoch and the formal innovative perspective, to a great extent resultant of the barely visionary tonal instability here explored. The Sonata in b minor, by Respighi, opens a perception of the Italian composer, beyond the most known and always cited symphonic pieces: Roman Treology. And, however, it is like if one analysed to the detail the importance of the "orchestral ensemble" in his language, by the permanent "metamorphosis" of textures, in the interaction between the violin and piano. One of the most difficult and fascinating works of the CD, so much for the violin as for the piano. Finally, Zigeunerweisen, the first of four pieces inspired in original Hungarian melodies (or gypsy, as the name indicates), of the Spanish composer and violinist Pablo of Sarasate. It is one of the most popular of the repertoire, a spectacular ending for the recital, with the violinist in the foreground, in one of the most demanding challenges. An "encore" of glory. After the challenges throughout the program, Bruno Monteiro well deserves it. João Paulo Santos also."


Público, Cristina Fernandes, May 2009

"Among Portuguese instrumentalists of the new generation, violinist Bruno Monteiro stands out as one of the most qualified musicians in the artistic and technical plan, which reflects itself in an intense musical activity between live concerts and in the construction of a discography that has been very well received by the public and critics alike. The program includes the "Scherzo" in c minor Wo02 of Brahms; the Sonata n. 1, op. 13, of Gabriel Fauré; the Sonata in b minor, by Ottorino Respighi; and "Zigeunerweisen" op. 20 nº1, of Pablo of Sarasate. With his Hungarian popular subjects, its dancing rhythms and strong contrasts, this last work is a typical piece of "encore", that Bruno Monteiro plays with big energy and nonchalance, but the violinist is equally well in works that demand another breath in the structural domain such as the Sonatas by Fauré and Respighi. They represent also the continuation of a coherent journey to the aesthetic level that shows the preference by works of the end of the XIX century and the beginning of the XX century with some affinities among themselves, initiated with the recording of the Sonata of César Franck in his debut recording. Brilliant sound, a musical statement always maintained with vehemence and sense of the tensions, outbursts of romance in the sections in "cantabile" and a technical domain that permits Monteiro to surpass with nonchalance the difficulties of the virtuoso writing are some characteristics of Mr. Monteiro´s style that has in the pianist João Paulo Santos the adequate support."


Diário de Notícias, Bernardo Mariano, April 2009

"Third recording of Bruno Monteiro in the Numerica label, always with João Paulo Santos, this "In Recital" contains two short works of Brahms (Scherzo in c m, of 1853) and of Sarasate (Zigeunerweisen op. 20, of 1878) and two broad compositions by Fauré and Respighi, respectively, the sonatas in there A M, Op. 13 (of 1875) and b minor (of 1916-17), the all program being of elevated demand in interpretative and technical level. (...) The interpretations of the duo Monteiro/Santos are all of very good level and balanced. (...) Solid approach, thought, with rhythmic nerve and lyrical expansiveness in the right doses and at times even reaching the exuberance."


Jornal de Notícias, Rui Branco, March 2009

"In Recital is the third CD of the duo Bruno Monteiro (violin) /João Paulo Santos (piano), in a short period of time. That said, Monteiro and Santos perform works of Brahms, Fauré, Respighi and Sarasate. The result is frankly seductive: invites us to continuous hearings such is the efficacy with which they grasps us the senses. The violin of Bruno Monteiro is more and more powerful, finding in João Paulo Santos the ideal support to show off all his virtuosity."