Henriette Bosmans - Cello Concertos Nos. 1 and 2; Poeme

Henriëtte BOSMANS (1895-1952) 

Cello Concerto No.1

Cello Concerto No.2

Poème für Cello & Orchester

 

Raphael Wallfisch (Cello) 

BBC Scottish Symphony Orchestra

Ed Spanjaard

Released June 1025

This program begins with Poème by Henriëtte Bosmans from 1923, which begins quite opulently and then alternates several times between slow and very melodic-lyrical and dance-like passages that clearly transport the listener to the south of Europe.

The first cello concerto begins in a combative and effective manner and then becomes quite passionate despite the lyricism of the cello, which this interpretation emphasizes powerfully and sometimes dramatically. This is followed by an equally powerful Presto, before a calm but very originally and imaginatively composed Lento-Moderato ends the concerto, which leaves a lasting impression on the listener as a very characteristic composition.

In contrast to the first cello concerto, the second begins very restrained and lyrically melodic with a solo, to which the orchestra then joins in. After almost four and a half minutes, a dance-like Allegro vivace follows, which still contains plenty of melodic sweetness. The Scherzo is no less lively and flowery.

The finale begins with an expressive Lento, which at times has a very melancholy effect and threateningly dark undertones. These moods are wiped away by the virtuoso Allegro molto, which in this interpretation, like the rest of the concerto, is also very effective and gripping.

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Henriette Bosmans' mother was a pianist and her father played principal cello in Amsterdam's Concertgebouw Orchestra, so it is no wonder that both of these instruments were lasting influences on her musical thinking and sensibilities. Her friendship with cellists Marix Loevensohn and Frieda Belinfante did the rest to guide this Dutch composer's imagination towards the expressive possibilities of the "little violone". In addition to various pieces of chamber music, the somewhat Iberian-spiced Poeme as well as two concertos were written in the early 1920s. Despite their relative proximity in time, Henriette Bosmans succeeded in not repeating herself. The works are marked by imaginative forms, wildly varied tasks demanded of the soloist and a sophisticated treatment of the orchestra. Despite these works' success, they had disappeared into the annals of history for far too long.