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Brett Dean - Composer & Performer

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Label: BIS

Cat No: BISCD1696

Barcode: 7318590016961

Format: CD

Number of Discs: 1

Release Date: 28th July 2008

Works

Dean, Brett

Intimate Decisions for solo viola
Komarov's Fall
Twelve Angry Men for twelve cellos
Viola Concerto

Artists

Brett Dean (viola)
The Cellists of the Sydney Symphony Orchestra
Sydney Symphony Orchestra

Conductors

Brett Dean
Simone Young
Hugh Wolff

Works

Dean, Brett

Intimate Decisions for solo viola
Komarov's Fall
Twelve Angry Men for twelve cellos
Viola Concerto

Artists

Brett Dean (viola)
The Cellists of the Sydney Symphony Orchestra
Sydney Symphony Orchestra

Conductors

Brett Dean
Simone Young
Hugh Wolff

About

As a viola-playing composer, Brett Dean is in the elevated company of Bach, Mozart, Schubert, Dvořák, Hindemith and Vaughan Williams. But even if this disc includes two works focusing on Dean’s own instrument – in performances by the composer himself – his impressive work list consists of a wide spectrum of genres, including concertos, orchestral works, chamber music and vocal works. A number of these have been written for the Berlin Philharmonic Orchestra, of which Dean was a member for 14 years, or for ensembles belonging to it.

On this disc, two ‘Berlin pieces’ are included. Twelve Angry Men, written for the cellists of the orchestra, was inspired by the famous courtroom film with the same name and charts the course of the jury’s heated deliberations. Komarov’s Fall, for full orchestra, was commissioned by Sir Simon Rattle and the Berlin Philharmonic as a companion piece for Holst’s The Planets, and was written in memory of the Soviet cosmonaut Vladimir Komarov, the first person to die in space (in 1967).

These two works are complemented by the solo-piece Intimate Decisions, and the recent and much-acclaimed Viola Concerto, which was met with great acclaim - “The concerto has plenty of good ideas – a brief, meditative introduction, a vivid hunt of soloist by orchestra, and finally a dank reverie, the elegiac quality of which is suffused with quasi-expressionist angst. Curiously beautiful, somewhat enigmatic? No question.” - Financial Times