Summery of the review on Klassik.com:
The attention that Henriëtte Bosmans receives is more than deserved. And a systematic exploration is more than desirable. So we have here three works for cello and orchestra, a poem and the two cello concertos, all in 1922/23. We are clearly in the period after the First World War, at a time when the restrictions to which women were subjected for too long were falling or completely fallen. The poem is a passionate, powerful sound poem full of sound joy and the most wonderful melody formation of Franco-Belgian tint. The two cello concerts are experiencing their world-first recording, here, if you like, Bosmans is now really turning on. The first concert is considerably longer than the second at 38 minutes, the orchestral part is extremely rich in timbres and moods, so that one can only wonder why the work has not long been part of the standard repertoire (at least in the Flemish-speaking area).
However, one can also imagine that the unprinted work would have been reviewed again in the event of a publication. But overall it convinces with well thought-out overall architecture as well as the differentiated detail. Even many short woodwind passages testify to Bosmans’ individuality, and the harmonics, especially of the middle movement, make you pay attention. Masterful The second concert is not only deliberately kept lighter in scope, but also in claim – without talking about flattery or superficiality. Even in the light, sometimes oriental-inspired intermezzo, masterful compositional art proves itself. And you can confidently capitalise them at Bosmans. And the increase in the corner movements from the piano to the logical conclusion (in the head sentence in the piano, in the finale to folkloric overage), without fear of great emotions, is outstandingly solved.
Raphael Wallfisch is famous for his soul-singing cello tone, which perfectly harmonises with the sound of the BBC Scottish Symphony Orchestra under Ed Spanjaard. But even in the piano, the solo part can be clearly heard and brings about a real co-concerting. The orchestra part is somewhat pointed in places, painted with a thick expressionist brush, so to speak, which gives the music and its interpretation a special charm.
Composers in the crosshairs of our attention