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Karl F. Miller
Fanfare, May 2018

The playing of the orchestra is excellent. Gregor Bühl’s interpretations are very much in keeping with the nature of the music. His baton technique must be excellent, as he has the orchestra playing as one instrument. The recorded sound is superb. © 2018 Fanfare Read complete review



Don O’Connor
American Record Guide, May 2018

Braunfels’s Carnival Overture (1911) is a Straussian effort with some good waltz themes and appropriately bubbly scoring.

The Scottish Fantasy (1933) is actually a viola concerto. Though it quotes the Scots tune ‘Call the Ewes to the Hillock’, there’s little else audibly Caledonian about it. The music has some arresting sounds and harmonies that would appeal to a musician, but in the main, it’s a dour work with little attraction for the laity. Barbara Buntrock does a fine job on what must be a bear of a solo part.

In the Prelude and Fugue (1925) the Prelude opens with whirligig figures in the higher woodwinds, then a Bachian descending theme. The music combines some of the vinegary edge of 1920s German music with ornate melodic lines more reminiscent of Franz Schmidt. The Fugue subject is tonally loose, with disjunct leaps. As with so many fugues, the subject without its context has slim musical appeal. That Braunfels constructed a sound edifice on such unpromising material is to his credit. Performances and sound are good. © 2018 American Record Guide Read complete review on American Record Guide



Bob Stevenson
MusicWeb International, February 2018

I enjoyed this work. Despite the fact that it is not in-your-face memorable I think it is certainly worth persevering with… It is given a lovely performance by Barbara Buntrock—a career violist (rather than a violinist playing the viola) with the right kind of reedy tone, playing an instrument once owned by no less a violist than Lionel Tertis.

The recording is clear and very well balanced, with no distortion evident. © 2018 MusicWeb International Read complete review




Remy Franck
Pizzicato, December 2017

A large-scale set of sumptuous orchestral music by Walter Braunfels, vividly played. © 2017 Pizzicato



Barry Forshaw
Classical CD Choice, December 2017

To many listeners, the name of the composer Walter Braunfels will be unfamiliar, but his colourful late romantic/modern scores fully deserve the excavation they have been receiving lately. If this disc does not offer the revelations that earlier recordings have accorded us, it is still an attractive (if slight) collection. © 2017 Classical CD Choice



Records International, December 2017

The bright and breezy Carnival Overture’s eight-and-a-half minutes are woven from music for Braunfels’ 1906–08 opera Princess Brambilla while the 16-minute Prelude and Fugue (1922–25) has a freshness and non-Germanic lightness while also being a “Concerto for Orchestra” in all but name. Having been premiered on Dutton Epoch back in early 2014, the Scottish Fantasy gets a second recording and the sound of 1930s Universal horror film music didn’t strike me then as it did this time in a slightly faster rendering! © 2017 Records International





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