Composed by Paul Hindemith
Performed by London Philharmonia Orchestra with David Corkhill , Mark David
Conducted by Jose Serebrier , Hugh Bean
2. Violin Concerto
Composed by Paul Hindemith
Performed by London Philharmonia Orchestra with Michael Guttman
Conducted by Jose Serebrier
3. Kammermusik No.4, for concerto for violin & chamber orchestra, Op. 36/3
Composed by Paul Hindemith
Performed by London Philharmonia Orchestra with Michael Guttman
Conducted by Jose Serebrier
4. Rag Time, for orchestra (or piano 4 hands), Op. 20
Composed by Paul Hindemith
Performed by London Philharmonia Orchestra Conducted by Jose Serebrier
Product Description
Amazon.com
The novelty here is the Suite of French Dances, transcriptions of 16th century pieces collected (if not composer) by Claude Gervaise. It doesn't seem very useful, somehow. The remaining works on the disc are all better known, and all well enough performed. Guttman plays both the Concerto and the Kammermusik extremely well, but for some reason the orchestral playing on the disc doesn't seem up to the Philharmonia's best standards. This disc is a long and varied Hindemith program, useful mainly for that reason. But Riccardo Chailly's set of the Kammermusiken with the Concertgebouw (London) outclasses this, and so do several other recordings. --Leslie Gerber
In my opinion, the Hindemith Violin Concerto is just as much a wonder to behold, as the popular Bruch, Mendelssohn, and Prokofiev violin concertos, and it deserves to be more in the public eye.
In contrast, for some reason, many of Hindemith's other compositions have a sort of unfinished or "first draft" quality to them.
Ragtime, also on this album, is interesting. It is a comical piece, reminiscent of Stravinsky's Circus Polka for a Young Elephant, and Charles Ives' Halloween. Ragtime features a musical laughing episode. Laughing music also occurs, for example, in Aaron Kernis' symphonic piece, The Colored Field, at 2 minutes and again at 3 minutes, in the second movement. One can also find a laughing episode in Bartok's string quartet no.1, where the laughing occurs at 6-7 minutes into the 3rd movement (allegro vivace).
The Concerto for Orchestra, Op. 38 is a quirky, ingenious four movement work that should really be called "Concerto Grosso for Orchestra," so similar in manner is it to Ernest Bloch's compositions bearing this tag, and drawing as it does so inventively on baroque elements. At just over twelve minutes, Hindemith, like Bloch, fuses the 16th century with the 20th, melds them, and produces a delicious musical hybrid, full of color, delectable solo outings (by oboe, flute, bassoon and violin), and a surging, bubbling forward motion that is infectious.
The Concerto for Violin (1939), played with great feeling and elan by violinist Guttman, whose "realization" of this work brings it to full measure superbly, is Hindemith's only large-scale orchestral coupling of this nature, running some thirty-one minutes in its three movements. It's a brilliant work! Powerful, heady, emotional and, dare I admit it, actually quite beautiful, especially in the central Langsam.
Guttman reprises his phenomenal artistry in Kammermusik No. 4 (Op. 36, No. 3), written, remarkably enough, in 1925--- the same year as the Concerto for Orchestra!--- yet worlds apart, musically. Indeed, as suggested by its title, this is rather more a "chamber music ensemble concerto" for violin than either an actual chamber work or concerto. This is, as well, essentially, the Hindemith with whom we're more familiar: experimental and dissonant. Although less immediately attractive or endearing than the other compositions on this CD, the Kammermusik No. 4 still ingratiates itself... slowly.
Most surprising is the Suite of French Dances, composed in 1958, and basically Hindemith transcriptions of 16th century dance tunes. (Poulenc had already done similarly, using many of the same tunes, in his Suite Francaise.) It's a pleasant "hommage" to the period and a grand way to cleanse one's musical palette.
The closing Ragtime throws all caution to the wind in its jazzy take on Bach's C Minor Fugue from Book 1 of his Well-tempered Klavier. Clever and fun.
With fine playing from the Philharmonia Orchestra, under Serebrier, clear, crisp sound, and the magical work by Michael Guttman, this all-Hindemith CD is well worth looking into.
[Running time: 78:18]
The novelty here is the Suite of French Dances, transcriptions of 16th century pieces collected (if not composer) by Claude Gervaise. It doesn't seem very useful, somehow. The remaining works on the disc are all better known, and all well enough performed. Guttman plays both the Concerto and the Kammermusik extremely well, but for some reason the orchestral playing on the disc doesn't seem up to the Philharmonia's best standards. This disc is a long and varied Hindemith program, useful mainly for that reason. But Riccardo Chailly's set of the Kammermusiken with the Concertgebouw (London) outclasses this, and so do several other recordings. --Leslie Gerber
Hindemith: Concerto for Orchestra, Op.38; Violin Concerto,Paul Hindemith,Hugh Bean,José Serebrier,Philharmonia Orchestra of London,David Corkhill,Mark David,Michael Guttman,Asv Living Era,20th/21st Century Orchestral Music,20th/21st Century Orchestral Work with Formal Description,Chamber Music & Recitals,Classical,Classical Composers,Classical Music,Concerto,Concerto for Orchestra,Orchestral,Piano Concerto,Violin Concerto
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Hindemith: Concerto for Orchestra, Op.38; Violin Concerto
Manufacturer: Asv Living Era ProductGroup: Music Binding: Audio CD  All Works by Hindemith
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ASIN: B0000030W4 Release Date: 1996-01-23 |
Tracks:
- Con Op.38, First Movt: Mit Kraft Massig Schnelle Viertel - Hugh Bean
- Con Op.38, Second Movt: Sehr Schnelle Halbe - Philarmonia Orch/Jose Serebrier
- Con Op.38, Third Movt: Marsch Fur Holzblaser (Nicht Zu Langsam Viertel) - Philarmonia Orch/Jose Serebrier
- Con Op.38, Fourth Movt: Basso Ostinato - Mark David/David Corkhill
- Con, First Movt: Massig Bewegt Halbe - Michael Guttman
- Con, Second Movt: Langsam - Michael Guttman
- Con, Third Movt: Lebhaft - Michael Guttman
- Kammermusik No.4, Op.36 No.3, First Movt: Breite, Majestatische Halbe - Michael Guttman
- Kammermusik No.4, Op.36 No.3, Second Movt: Sehr Lebhaft - Michael Guttman
- Kammermusik No.4, Op.36 No.3, Third Movt: Machtstuck (Massig Schnelle Achtel) - Michael Guttman
- Kammermusik No.4, Op.36 No.3, Fourth Movt: Lebhafte Viertel - Michael Guttman
- Kammermusik No.4, Op.36 No.3, Fiftth Movt: So Schnell Wie Moglich - Michael Guttman
- Ste Of French Dances, First Movt: Pavane And Gaillarde - Philarmonia Orch/Jose Serebrier
- Ste Of French Dances, Second Movt: Tourdion - Philarmonia Orch/Jose Serebrier
- Ste Of French Dances, Third Movt: Bransle Simple - Philarmonia Orch/Jose Serebrier
- Ste Of French Dances, Fourth Movt: Bransle De Bourgogne - Philarmonia Orch/Jose Serebrier P
- Ste Of French Dances, Fifth Movt: Bransle Simple - Philarmonia Orch/Jose Serebrier
- Ste Of French Dances, Sixth Movt: Bransle D'Escosse - Philarmonia Orch/Jose Serebrier
- Ste Of French Dances, Sixth Movt: Pavane - Philarmonia Orch/Jose Serebrier
- Ragtime - Philarmonia Orch/Jose Serebrier
Amazon.com
The novelty here is the Suite of French Dances, transcriptions of 16th century pieces collected (if not composer) by Claude Gervaise. It doesn't seem very useful, somehow. The remaining works on the disc are all better known, and all well enough performed. Guttman plays both the Concerto and the Kammermusik extremely well, but for some reason the orchestral playing on the disc doesn't seem up to the Philharmonia's best standards. This disc is a long and varied Hindemith program, useful mainly for that reason. But Riccardo Chailly's set of the Kammermusiken with the Concertgebouw (London) outclasses this, and so do several other recordings. --Leslie GerberCustomer Reviews:
The violin concerto -- wonderously soaring and accessible........2006-07-04
In my opinion, the Hindemith Violin Concerto is just as much a wonder to behold, as the popular Bruch, Mendelssohn, and Prokofiev violin concertos, and it deserves to be more in the public eye.
In contrast, for some reason, many of Hindemith's other compositions have a sort of unfinished or "first draft" quality to them.
Ragtime, also on this album, is interesting. It is a comical piece, reminiscent of Stravinsky's Circus Polka for a Young Elephant, and Charles Ives' Halloween. Ragtime features a musical laughing episode. Laughing music also occurs, for example, in Aaron Kernis' symphonic piece, The Colored Field, at 2 minutes and again at 3 minutes, in the second movement. One can also find a laughing episode in Bartok's string quartet no.1, where the laughing occurs at 6-7 minutes into the 3rd movement (allegro vivace).
A HEFTY, HEADY HUNK OF HINDEMITH!.......2000-11-08
The Concerto for Orchestra, Op. 38 is a quirky, ingenious four movement work that should really be called "Concerto Grosso for Orchestra," so similar in manner is it to Ernest Bloch's compositions bearing this tag, and drawing as it does so inventively on baroque elements. At just over twelve minutes, Hindemith, like Bloch, fuses the 16th century with the 20th, melds them, and produces a delicious musical hybrid, full of color, delectable solo outings (by oboe, flute, bassoon and violin), and a surging, bubbling forward motion that is infectious.
The Concerto for Violin (1939), played with great feeling and elan by violinist Guttman, whose "realization" of this work brings it to full measure superbly, is Hindemith's only large-scale orchestral coupling of this nature, running some thirty-one minutes in its three movements. It's a brilliant work! Powerful, heady, emotional and, dare I admit it, actually quite beautiful, especially in the central Langsam.
Guttman reprises his phenomenal artistry in Kammermusik No. 4 (Op. 36, No. 3), written, remarkably enough, in 1925--- the same year as the Concerto for Orchestra!--- yet worlds apart, musically. Indeed, as suggested by its title, this is rather more a "chamber music ensemble concerto" for violin than either an actual chamber work or concerto. This is, as well, essentially, the Hindemith with whom we're more familiar: experimental and dissonant. Although less immediately attractive or endearing than the other compositions on this CD, the Kammermusik No. 4 still ingratiates itself... slowly.
Most surprising is the Suite of French Dances, composed in 1958, and basically Hindemith transcriptions of 16th century dance tunes. (Poulenc had already done similarly, using many of the same tunes, in his Suite Francaise.) It's a pleasant "hommage" to the period and a grand way to cleanse one's musical palette.
The closing Ragtime throws all caution to the wind in its jazzy take on Bach's C Minor Fugue from Book 1 of his Well-tempered Klavier. Clever and fun.
With fine playing from the Philharmonia Orchestra, under Serebrier, clear, crisp sound, and the magical work by Michael Guttman, this all-Hindemith CD is well worth looking into.
[Running time: 78:18]
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