Hindemith: Sonata for viola solo Op25/1; Sonata for viola solo Op11/5

1. Sonata for viola solo, Op. 25/1
Composed by Paul Hindemith
with Paul Cortese

2. Sonata for viola solo, Op. 31/4
Composed by Paul Hindemith
with Paul Cortese

3. Sonata for viola solo, Op. 11/5
Composed by Paul Hindemith
with Paul Cortese

4. Sonata for viola solo
Composed by Paul Hindemith
with Paul Cortese

Tracks:

Va Son, Op.25 No.1: First Movt: Breit Viertel
Va Son, Op.25 No.1: Second Movt: Sehr Fresch Und Straff
Va Son, Op.25 No.1: Third Movt: Sehr Langsam
Va Son, Op.25 No.1: Fourth Movt: Rasendes Zeitmab
Va Son, Op.25 No.1: Fifth Movt: Langsam, Mit Viel Ausdruck
Va Son, Op.31 No.4: First Movt: Ausserst Lebhaft
Va Son, Op.31 No.4: Second Movt: Lied-Ruhig, Mit Wenig Ausdruck
Va Son, Op.31 No.4: Third Movt: Theme Mit Var-Schnelle Viertel
Va Son, Op.11 No.5: First Movt: Lebhaft, Aber Nicht Geeilt
Va Son, Op.11 No.5: Second Movt: Mabig Schnell, Mit Viel Warme Vostragen
Va Son, Op.11 No.5: Third Movt: Scherzo
Va Son, Op.11 No.5: Fourth Movt: In Form Und Zeitmab Einer Passacaglia. Das Therma Sehr Gehalten
Va Son: First Movt: Lebhafte Halbe
Va Son: Second Movt: Langsame Viertel
Va Son: Third Movt: Mabig Schnelle Viertel

Customer Reviews:

Great Pieces, Not the Best Performance........2001-07-15

Certainly, these are essential pieces (particularly for viola buffs!), and Paul Cortese does an adequate job of performing them, but I definitely prefer the Kim Kashkashian disc by a longshot. Cortese's intonation and vibrato get slushy, weak; by contrast, Kashkashian's left hand is rock solid even on the most exposed doublestops (octaves, unisons) and passagework.

The infamous fourth movement of Op. 24 no. 5, for example ["Rasendes Zeitmaß. Wild. Tonschönheit ist Nebensache"], is much closer to Hindemith's Utopian tempo marking on the Kashkashian disc, and better in tune. (Though I should note that Cortese seems to have taken the part about "Tonschönheit" to heart...) Arguably, Kashkashian is too restrained in the op. 11 no. 5, but her interpretation is winning and enjoyable in its own right, and certainly clearer and (again) better in tune.

These pieces are very satisfying. Though certainly not atonal, they do often bristle with often shocking dissonances; nevertheless, they are accessible, passionate, and formally lucid, not to mention thrillingly virtuosic. By all means, buy a recording. Just not this one.

Great Reference Volume for String Players.......2000-11-22

This is the second installment of Paul Cortese's complete works for viola by 20th century master Paul Hindemith. You might not think that a series of solo viola sonatas written during the German Expressionist period would be listenable, but this disc is. Cortese's great love for Hindemith is brought out through his soulful, expressive playing, and he makes the many technically challenging passages sound easy!

If you're interested in Hindemith, viola music, or string pedagogy, buy this!

Solo Viola Sonatas No Ho-hum Adventure!.......2000-11-12

It's surprising how a recording of solo viola sonatas, written by a master composer, can be a musically fascinating experience. In this his second installment of three, in Paul Hindemith's complete solo works for viola, Paul Cortese explores the four solo, unaccompanied viola sonatas.

Hindemith (1895-1963) was himself a fine violist; like Mozart, it was his main instrument. Hindemith loved all instruments and learned the basics of each in order to write intelligently - would that more composers did so - but it would seem he wrote with more natural affinity when it came to the oft-ignored alto string instrument.

The sonatas date from 1922 through 1937, and represent Hindemith's gradual move from a sort of Neo-classic free atonality to the quartal/quintal sound most people associate with Hindemith's better known works, such as Mathis der Maler or the Symphonic Metamorphosis.

This collection amply displays Paul Cortese's mastery of the instrument and of Hindemith's unique style. Cortese, a student of musical form, musically highlights one of Hindemith's most intriguing compositional strengths, that of adhering to a strictly designed form even while seeming to meander, viz the 5th Movement of Opus 25 No. 1.

Cortese's refined string technique is evident throughout the recording, including the slicing thrusts of Opus 25 No. 1, 4th Movement; the motoric pyrotechnics of Opus 31 No.4, 1st Movement - the whole movement a study in double-stops; and the rich tones emanating from Cortese's viola during the melancholy 2nd Movement of the Opus 31 Sonata.

The 3rd Movement of Opus 31, a Theme and Variations, runs the gamut of styles: stark and bold, brooding and pensive, or as bouncy as a nautical tune.

The 4th Movement of Opus 11 is a Passacaglia with beautifully melodic writing, much of which is technically taxing to the violist. Cortese makes it sound easy.

Though some might think it takes a slightly masochistic soul to appreciate early 20th-century German Expressionist unaccompanied viola sonatas, this disc is valuable to Hindemith aficionados as well as serving as an excellent reference for string students and pedagogues.

Music Review:

Music Review

music review

Music Review

Uni-Fiktion [CD-single] [Import]

CBC Records: Les Disques SRC Collection

Classic Care (Box Set) [Box set]

Dreams & Discoveries

Bring 'em Back Alive

Baila Casanova [Karaoke]

God is Able

Collector's Box [Import]

Big Bad John [Import]

Amen

Dizzy Ep (Japan) [Enhanced] [EP] [Import]

Caribbean Steeldrums: Pan Forever

Carbine 744,520... [EP]

Jump Jack Jump!

The Beat of My Heart