Maurizio Paciariello - Hindemith: Complete Piano Sonatas (2015)
BAND/ARTIST: Maurizio Paciariello
- Title: Hindemith: Complete Piano Sonatas
- Year Of Release: 2015
- Label: Brilliant Classics
- Genre: Classical Piano
- Quality: flac lossless
- Total Time: 01:00:30
- Total Size: 189 mb
- WebSite: Album Preview
Tracklist
01. Piano Sonata No. 1 in A Major: I. Ruhig bewegte Viertel
02. Piano Sonata No. 1 in A Major: II. Im Zeitmaß einer sehr langsamen Marches
03. Piano Sonata No. 1 in A Major: III. Lebhaft
04. Piano Sonata No. 1 in A Major: IV. Ruhig bewegte Viertel
05. Piano Sonata No. 1 in A Major: V. Lebhaft
06. Piano Sonata No. 2 in G Major: I. Mässig schnell
07. Piano Sonata No. 2 in G Major: II. Lebhaft
08. Piano Sonata No. 2 in G Major: III. Sehr langsam - Rondo. Bewegt
09. Piano Sonata No. 3 in B-Flat Major: I. Ruhig bewegt
10. Piano Sonata No. 3 in B-Flat Major: II. Sehr lebhaft
11. Piano Sonata No. 3 in B-Flat Major: III. Mässig schnell
12. Piano Sonata No. 3 in B-Flat Major: IV. Fuge, lebhaft
The ‘true amalgam of ecstasy and reason’ which Glenn Gould found within Paul Hindemith’s music is abundantly evident in the three piano sonatas which he wrote fairly quickly in 1936, following the artistic success but deep personal wound created by the first performances of his masterpiece, Mathis der Maler, which was banned by the Nazis as soon as it had been heard. Inevitably these sonatas are more compact and restrained in expression, but their novel forms still enclose furious marches and impassioned laments within the wrong-note counterpoint that was Hindemith’s characteristic tone of voice.
The first is the most substantial of the three sonatas, a five-movement work inspired by a Holderlin poem. The second is more agile and delicate in form, most clearly derived from Baroque models, somewhat ironic in tone and concluding with a witty Rondo. The third is perhaps the most lucid of the triptych, in which Beethoven’s influence is writ large, from the throwaway subject of the first movement to the strenuous fugue of the finale, which is prefaced by an imposing slow movement with the tragic pulse of a funeral march.
This is Maurizio Paciarello’s debut recording for Brilliant Classics, but he has made previous recordings of repertoire from Kuhlau to Respighi. This Hindemith CD benefits from his wide study of historically informed performance values from Baroque and Classical times onwards, including teaching from Paul Badura-Skoda, and performances of Beethoven’s music on original Broadwood instruments.
01. Piano Sonata No. 1 in A Major: I. Ruhig bewegte Viertel
02. Piano Sonata No. 1 in A Major: II. Im Zeitmaß einer sehr langsamen Marches
03. Piano Sonata No. 1 in A Major: III. Lebhaft
04. Piano Sonata No. 1 in A Major: IV. Ruhig bewegte Viertel
05. Piano Sonata No. 1 in A Major: V. Lebhaft
06. Piano Sonata No. 2 in G Major: I. Mässig schnell
07. Piano Sonata No. 2 in G Major: II. Lebhaft
08. Piano Sonata No. 2 in G Major: III. Sehr langsam - Rondo. Bewegt
09. Piano Sonata No. 3 in B-Flat Major: I. Ruhig bewegt
10. Piano Sonata No. 3 in B-Flat Major: II. Sehr lebhaft
11. Piano Sonata No. 3 in B-Flat Major: III. Mässig schnell
12. Piano Sonata No. 3 in B-Flat Major: IV. Fuge, lebhaft
The ‘true amalgam of ecstasy and reason’ which Glenn Gould found within Paul Hindemith’s music is abundantly evident in the three piano sonatas which he wrote fairly quickly in 1936, following the artistic success but deep personal wound created by the first performances of his masterpiece, Mathis der Maler, which was banned by the Nazis as soon as it had been heard. Inevitably these sonatas are more compact and restrained in expression, but their novel forms still enclose furious marches and impassioned laments within the wrong-note counterpoint that was Hindemith’s characteristic tone of voice.
The first is the most substantial of the three sonatas, a five-movement work inspired by a Holderlin poem. The second is more agile and delicate in form, most clearly derived from Baroque models, somewhat ironic in tone and concluding with a witty Rondo. The third is perhaps the most lucid of the triptych, in which Beethoven’s influence is writ large, from the throwaway subject of the first movement to the strenuous fugue of the finale, which is prefaced by an imposing slow movement with the tragic pulse of a funeral march.
This is Maurizio Paciarello’s debut recording for Brilliant Classics, but he has made previous recordings of repertoire from Kuhlau to Respighi. This Hindemith CD benefits from his wide study of historically informed performance values from Baroque and Classical times onwards, including teaching from Paul Badura-Skoda, and performances of Beethoven’s music on original Broadwood instruments.
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