Hitherto, Jose Vianna da Motta (1868-1948) was quite unknown to me. Artur Pizarro’s informative note fills the main gaps: born in Africa, he was a pupil of Schaffer, Liszt and von Bulow, later becoming a leading interpreter of Beethoven and Liszt. He played with Casals, Sarasate and Ysaye and was a friend of Busoni, with whom he edited a complete Liszt edition.
Vianna da Motta’s main importance to posterity was his cultivation of non-operatic music in Portugal, his own compositions leading the way. Ironically, the larger works here scarcely contributed, the Concerto (1886-87) being premiered the day before this recording, the Fantasia dramatica (1893) played just once before. Both are early works, full of youthful exuberance. The Concerto betrays many influences, Wagner not least, but is largely Schumannesque in structure. Its unconventionality reminded me of Busoni’s early concerto (though less massive), consisting of just two movements, the variation-form second functioning as slow movement and scherzo-finale. The concerto-sized Fantasia dramatica (the largest item here) is more assured technically, switching Liszt for Schumann as model.
Vianna da Motta’s Ballada for solo piano is later still (1905), a fully mature creation in expressive design and the skill of its keyboard writing. Based on two popular songs from Portugal, it does lack the sheer vitality and fun of the works with orchestra, though its being placed between them sets it in the best possible light. The performances – firmly directed by Brabbins – are very strong (Pizarro doesn’t put a foot wrong). The superlative recording is a further plus, letting one hear even the rasp of the bassoons beneath the Fantasia’s final climax. A joy to listen to.'