Michał Bryła‘s debut solo album Georg Philipp Telemann: 12 Fantasias for Viola Solo has a program dedicated to the work of G. Ph. Telemann. This is the World Premiere of an arrangement of the 12 gamba Fantasias for modern viola. Where the musician acted as performer and sound director supervising the recording session! The project won acclaim from music lovers on a global scale, and the author of the arrangement himself recalls:
“By complete coincidence, I found a study of Telemann’s Violin Fantasias by my grandfather in the family library. At the same time, I was thinking of compiling a cycle of gamba Fantasias. I decided to bind the whole thing together by recording a bonus piece, including violin Fantasia No. 7 in E flat major TWV 40:20 in my grandfather’s arrangement, so as to refer to my original inspiration.” – Bryla
The pieces have been prepared with the attitude of rendering the characteristics and disposition of the material to the exclusion of excessive interference with the source text, which material was only found in 2015 by the Lower-Saxony State Archive in Osnabrück. Previously, this collection was located in the Ledenburg Castle in the private library of the writer and poet of aristocratic origin, Eleonore von Műnster (1734-1794).
The cycle is characterized by numerous Haná features, in which one can see the influence of Slavic music on the character of the time in the composer’s work. In terms of arrangement, Michał Bryła has attempted to reflect the original character of the works by conducting a retrospective to reflect the author’s original intentions. The choice of tempos and the necessity of transposition are intended to emphasize the virtuosic traits within the collection, so that the reception of the entire cycle is interpreted in the context of its concert purpose.
… Michał Bryła belongs to a limited group of viola players that can actually compete with such eminent artists as Tabea Zimmerman. With little or no vibrato at all, Bryła convincingly paints a cycle of twelve colourfully shaded phantasies in a way Telemann must have wanted us to hear…
– Adarian Quanjer, HRAudio.net
Big Red Button Award
Pizzicato Supersonic Award
ICMA 2024 Award nomination (Baroque Instrumental)
Der Deutschen Schallplatten Kritik nomination
Michał Bryła, Viola
TracklistPlease note that the below previews are loaded as 44.1 kHz / 16 bit.
Total time: 01:12:31
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Line Audio OM1 omnidirectional microphones and CM4 cardioid mikes
|Original Recording Format
|January 19, 2024
Michał Bryła took on a significant task in his creation of a new edition of Telemann’s fantasias for viola da gamba: translate them for his instrument while remaining true to the nature and flavor of the original versions (…) His playing is simply outstanding.
Bryla’s outstanding instrumental skills and the artistry of the music itself are underlined by a brilliantly captured surround sound, recorded with the utmost care. This is undoubtedly one of the most important albums of 2023
…A few words about the realisation. On this subject, I can say that the mastering is phenomenal. No sense of compression, making the music sound with full freedom, cool visuals and breath…
The disc with G. Ph. Telemann’s ‘Fantasias’ performed by Michał Bryla is one of the better, so consistently audiophile-oriented, discs released in Poland
…For the many listeners unable to attend a performance of these works, Bryła’s complete mastery of the material and tireless devotion to this project must be applauded.
The playing, the sound, and the liner notes are at a superbly high standard. We can only hope that ‘Prelude’ means that there is more to come
…This is a recording that should be a must have, not only as an example for violists, but one that shows the ingenuity of Telemann in a performance that is top class. My highest recommendation…
…These are performances that are both ever-mindful of Baroque proportion, and immensely heartfelt and communicative (…) The recorded sound is excellent. A superb disc…
Bryla’s recording, captured with pleasantly warm surround sound, relies not only on his skill but also on the effect of the music itself.
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