“There is a plaintive beauty about the first, rather modal impression, which eminently suits the elegaic tone of Bradley’s instrument, but things liven up in the succeeding two movements.. much of this music is well composed, stylistically variegated and has a distinctive chemistry, atmosphere and harmonic world...the interpretations and insights brought by Bradley, with her nuanced playing and by John Lenehan’s flair for20th-century English piano music suggest that this era has much that is worthy of revival. It has certainly whetted my appetite” 

“Mid-century rarities vividly brought to life by a winning duo..the tried-and-true partnership of Sarah-Jane Bradley and John Lenehan sound as if they have been performing this rare repertoire for years, authoritatively realising each composer’s personal sound world with unerring assurance” .

“The quality of these works is surprisingly good, considering how swiftly they were forgotten, and the partnership of Bradley and Lenehan is classy indeed”**** 

What’s that, sorry? A bit niche, you say? Perhaps, but there is much to entertain here; and riches to discover, too. This is a labor of love, then, and supremely well executed here by Sarah Jane Bradley and the experienced pianist John Lenehan. performed with real verve by Bradley and Lenehan, a true meeting of equals The piece tests the violist’s upper register. In this, and in every other aspect, Bradley is impeccable. Bradley’s scampering virtuosity in the final of the three panels is brilliant. This viola sonata includes a significant virtuoso cadenza (brilliantly dashed off here by Bradley; and one should really pay homage to her tuning, too).There are moments of extreme tenderness in his music, honored by the most miraculously sustained pianissimos by Bradley and Lenehan. Bradley finds inspiration in many of the lines here (and how well she keeps her upper register in tune, allowing the leggiero passages to really register).  Bradley and Lenehan achieve this tightrope feat beautifully, and eloquently. This is a real window into English music of the mid-20th century, then, and valuable on those terms alone. The consistently high standard of the music plus performances to match make this release absolutely cherishable—and, at just under 83 minutes, filled to the brim.  

This really interesting and unusual programme of substantial viola and piano works is the brainchild of the disc’s producer Michael Ponder. As a concept this CD is interesting but that would count for little if it were not as well played as it is by Sarah-Jane Bradley and John Lenehan.  

Even for a player of Bradley’s stature, this is a big ‘learn’ and we must be grateful for the investment time and effort that this represents. John Lenehan is equally impressive as co-performer and they are backed up by an excellent SACD multi-channel recording. There are a couple of works here that deserve to be part of the ‘standard’ viola repertoire they are so fine.  

The central Siciliano ‘La Morte de Procris’is an absolute gem- a gently lilting lament. This movement also highlights a particular feature of Bradley’s playing that is evident throughout – the evenness of her tone production is exceptional. Many of these works exploit the very highest register of the viola which Bradley plays with not just total technical security but also a beautifully sweet open tone. At the other end of the instrument’s range the benefits of the rich C string are clear but again without the tubbiness that can affect some performances.  

Astately Maestosocontrasts with a nimble and playful Allegro vivace– played with easy virtuosity by Bradley  

I cannot imagine better advocacy than that given here by Bradley and Lenehan..
the demanding writing for both players performed here with commanding skill.  

I have to say on a disc of impressive music this is the work that has made the greatest impact (Mellers).  

..more highly expressive and responsive playing from Bradley underlining the wistful neo-Romanticism of this very attractive score (Edmunds)

Again both Bradley and Lenehan show an unerring understanding and feel for the music which brings the disc to an energetic and entertaining conclusion.
Do not let the unfamiliarity of the composers named here put you off from sampling this disc. Every single work offers music of real worth and interest and I cannot imagine these excellent, skilled and sensitive performances ever being bettered.  

The remarkably generous running time of over eighty minutes is anther bonus. Finally, add the excellence of the Dutton production and engineering and the result is a passion-project from Michael Ponder that is a triumphant success.