Victor Braojos

Performers

Notes on the performers

Usually praised for his poetical, intense and original performances, Víctor Braojos obtained his BMus (Hons) at Escola Superior de Música de Catalunya (Barcelona), working with Jordi Masó and Pierre Reach and supported by a scholarship by the Anna Riera Foundation. He later moved to London, where he pursued his Master in Piano Performance and Artist Diploma (Distinction and Concert Recital Diploma) at the Guildhall School of Music and Drama, working with Martin Roscoe and thanks to an Excellence Scholarship Award given by this institution.

Over these years, he has completed his musical formation working regularly with world-acclaimed performers such as Dame Imogen Cooper, Sir Stephen Hough, Paul Lewis CBE, Robert Levin or Stephen Kovacevich, being chosen at the same time to join the roster of artists supported by renowned institutions, such as the Imogen Cooper Music Trust, Talent Unlimited and the Keyboard Charitable Trust. He has won several prizes and awardsin national and international piano competitions, among which we could highlight, the Best Spanish Pianist Award at the 68th Maria Canals International Piano Competition 2023, the 1st Prize in the Catalunya Piano Competition (youngest winner ever in the 50 years of history of this competition), the 1st Prize in the Barcelona Piano Competition, the 1st Prize in the Girona Musical Competition or the 2nd Prize at the prestigious “El Primer Palau Music Competition”.

His commitment to combine classical repertoire with contemporary music has led him to world-premiere works by some of the most renowned Spanish composers such as Benet Casablancas, Joan Magrané, Marc Migó or Josep Maria Guix and, concurrently to his soloist activity, he usually collaborates with several chamber music ensembles and orchestras, among which we could highlight his multiple collaborations with the Barcelona Medical College Orchestra, conducted by Alfons Reverté.

Along his career he has performed in several venues across Spain, France, Italy, Poland, Russia or the UK, among which we could remark concerts at emblematic venues such as the Palau de la Música Catalana, the National Auditorium of Barcelona, London Steinway Hall, Instituto Cervantes de Palermo or the Frédéric Chopin Museum in Warsaw. His most recent and future engagements include internationally acclaimed concert halls and festivals, such as the Conservatoire International Concert Series at South Hill Park, Bloomsbury Festival, London National Liberal Club, the “International
Masters Concert Series” at the Auditorio Ciudad de León, North Fylde Music Circle or the Imperial College of London.

In September 2022, Víctor was appointed Junior Fellow at the Guildhall School of Music and Drama.

Programme

Programme notes

Enrique Granados (1867 – 1916)

Escenas Románticas (Romantic Scenes)

1. Mazurka – Recitativo
2. Berceuse
3. Lento con éxtasis
4. Allegretto
5. Allegro appassionato
6. Epílogo

Pantaleón Enrique Joaquín Granados Campiña was a Spanish composer of classical music, and concert pianist from Catalonia, Spain. His most well-known works include Goyescas, the Spanish Dances [es], and María del Carmen.

His music can be divided into three styles or periods: A romantic style including such pieces as Escenas Románticas and Escenas Poeticas. A more typically nationalist, Spanish style including such pieces as Danzas Españolas (Spanish Dances), 6 Piezas sobre cantos populares españoles (Six Pieces based on popular Spanish songs). The Goya (Goyesca) period, which includes the piano suite Goyescas, the opera Goyescas, various Tonadillas for voice and piano, and other works.

Escenas románticas was composed in 1903.

Source: Wikipedia

Franz Schubert (1797 – 1828) 

Sonata in B-flat Major D960

1. Molto moderato
2. Andante sostenuto
3. Scherzo: Allegro vivace con delicatezza
4. Allegro ma non troppo

Franz Schubert’s last three piano sonatas, D 958, 959 and 960, are his last major compositions for solo piano. They were written during the last months of his life, between the spring and autumn of 1828, but were not published until about ten years after his death, in 1838–39. Like the rest of Schubert’s piano sonatas, they were mostly neglected in the 19th century. By the late 20th century, however, public and critical opinion had changed, and these sonatas are now considered among the most important of the composer’s mature masterpieces. They are part of the core piano repertoire, appearing regularly on concert programs and recordings.

Source: Wikipedia