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Roman Mints - Hindemith: Complete Works for Violin & Piano (2019)

Roman Mints - Hindemith: Complete Works for Violin & Piano (2019)

BAND/ARTIST: Roman Mints

  • Title: Hindemith: Complete Works for Violin & Piano
  • Year Of Release: 2019
  • Label: Quartz Music
  • Genre: Classical
  • Quality: flac lossless +Booklet
  • Total Time: 01:17:11
  • Total Size: 332 mb
  • WebSite:
Tracklist
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01. Violin Sonata in E-Flat Major, Op. 11 No. 1 I. Frisch
02. Violin Sonata in E-Flat Major, Op. 11 No. 1 II. Im Zeitma? eines langsamen, feierlichen Tanzes
03. Violin Sonata in D, Op. 11 No. 2 I. Lebhaft
04. Violin Sonata in D, Op. 11 No. 2 II. Ruhig und gemessen
05. Violin Sonata in D, Op. 11 No. 2 III. Im Zeitma? und Charakter eines geschwinden Tanzes
06. Viola Sonata, Op. 25 No. 2 Kleine Sonate I. Ma?ig schnell. Lustig
07. Viola Sonata, Op. 25 No. 2 Kleine Sonate II. Sehr langsam
08. Viola Sonata, Op. 25 No. 2 Kleine Sonate III. Sehr lebhaft
09. Violin Sonata in E Major I. Ruhig bewegt
10. Violin Sonata in E Major II. Langsam - Sehr lebhaft
11. Trauermusik (Arr. for Violin & Piano) I. Langsam
12. Trauermusik (Arr. for Violin & Piano) II. Ruhig bewegt
13. Trauermusik (Arr. for Violin & Piano) III. Lebhaft
14. Trauermusik (Arr. for Violin & Piano) IV. Choral Fur deinen Thron tret ich hiermit
15. Nobilissima visione VIII. Meditation (Arr. for Violin & Piano)
16. Violin Sonata in C Major I. Lebhaft
17. Violin Sonata in C Major II. Langsam
18. Violin Sonata in C Major III. Fuge. Ruhig bewegt

Recorded for the first time on one CD, Hindemith Complete Works for Violin and Piano and the rarely recorded Kleine Sonata for Viola D’amore and Piano. Roman Mints has had a lifelong love of the works of Paul Hindemith, which began when he was a young violinist, studying in Moscow in the 1980s. He says “This music, written not just before I was born but closer to the time of my grandparents’ birth, felt completely contemporary, and daringly advanced in its sound – and not just to me, as it turns out: 30 years on, Hindemith is still regarded by concert programmers as too difficult for the wider public. I put Sonata in D on the stand. I was gripped by the first subject, constructed from seconds and sevenths, marked to be played ‘with stony defiance’. I was never the same again and he became my window into contemporary music.”



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