Umberto Aleandri, Filippo Farinelli - Hindemith: Complete Music for Cello and Piano (2024) [Hi-Res]
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BAND/ARTIST: Umberto Aleandri, Filippo Farinelli
- Title: Hindemith: Complete Music for Cello and Piano
- Year Of Release: 2024
- Label: Brilliant Classics
- Genre: Classical
- Quality: flac lossless (image +.cue, log, artwork) / flac 24bits - 88.2kHz
- Total Time: 02:05:25
- Total Size: 583 mb / 1.86 gb
- WebSite: Album Preview
Tracklist
01. Hindemith Cello Sonata in E Major I. Pastorale
02. Hindemith Cello Sonata in E Major II. Moderately Fast
03. Hindemith Cello Sonata in E Major III. Passacaglia
04. Hindemith Kleine Sonate, Op. 25 No. 2 I. Breit
05. Hindemith Kleine Sonate, Op. 25 No. 2 II. Lebhaft
06. Hindemith Kleine Sonate, Op. 25 No. 2 III. Langsam
07. Hindemith A Frog He Went A-Courting
08. Hindemith Meditation from Nobilissima Visione
09. Hindemith 3 Leichte Stucke I. Ma?ig schnell, Munter
10. Hindemith 3 Leichte Stucke II. Langsam
11. Hindemith 3 Leichte Stucke III. Lebhaft
12. Hindemith Sonate, Op. 11 No. 3 I. Ma?ig schnelle Viertel. Mit Kraft
13. Hindemith Sonate, Op. 11 No. 3 II. Langsam -
14. Hindemith Sonate, Op. 11 No. 3 Sehr Lebhaft
15. Hindemith Sonate, Op. 11 No. 3 I. Lebhaftes Zeitma?
16. Hindemith Sonate, Op. 11 No. 3 II. Langsam; Sehr Lebhaft
17. Hindemith 6. III. Schnelle Viertel, stets kraft- Und Schwungvoll
18. Hindemith 3 Stucke, Op. 8 I. Capriccio - Lebhaft
19. Hindemith 3 Stucke, Op. 8 II. Phantasiestuck - Ma?ig Langsam
20. Hindemith 3 Stucke, Op. 8 III. Scherzo - Ma?ig schnelle Achtel
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Within the extensive repertoire of the German composer Paul Hindemith (1895–1963), music for cello and piano occupies a considerable position in terms of both quantity and quality. Hindemith was primarily a violist and conductor, but his wide-ranging interests led him to experiment with a great variety of instruments both as composer and player, making him a de facto multi-instrumentalist. Among his favourite instruments, the cello always occupied a special place in his activities, among other things because of his collaboration with his brother Rudolf, an excellent cellist.
His original compositions for the specific duo of cello and piano are varied and numerous, and they provide a synthetic vision of the different stylistic instances of an author who never got tired of rethinking and redefining his language. This recording brings together and offers the listener this entire wonderful portion of Hindemith’s catalogue.
The Drei Stücke Op.8 (1917) are undoubtedly among the most important pieces of the composer’s youthful phase. The later Sonata Op.11 No.3, a composition of considerable constructive commitment and complex genesis, is recorded here for the first time in both versions: one from 1919 (lost piano parts reconstructed by Fazıl Say), the other from 1921. The delicate and expressive Drei leichte Stücke ‘Cello in first position’, composed in April 1938, are intended for the didactic sphere, without renouncing in the slightest the peculiarities of the harmonic language of the composer. The same can be said of the brief and melancholic Meditation, a transcription of a movement from Hindemith’s orchestral ballet Nobilissima Visione. More complex is A Frog he went a-courting. Despite its brevity, it is one of the finest pieces on this programme. A dozen concise variations, framed by the initial exposition and the concluding return of the traditional English theme, present a wealth of instrumental, timbral, expressive and dynamic solutions in a small, dense, brilliant display of Hindemith’s compositional mastery. Do not be deceived by the title Kleine Sonate (1942), which is small in size but not in terms of compositional complexity. The imposing Cello Sonata (1948) was written for Gregor Piatigorsky and premiered by him in New York in the year it was composed. Comparing this Sonata to the Sonata Op.11 No.3 conveys a sense of the stylistic evolution across some 30 years.
01. Hindemith Cello Sonata in E Major I. Pastorale
02. Hindemith Cello Sonata in E Major II. Moderately Fast
03. Hindemith Cello Sonata in E Major III. Passacaglia
04. Hindemith Kleine Sonate, Op. 25 No. 2 I. Breit
05. Hindemith Kleine Sonate, Op. 25 No. 2 II. Lebhaft
06. Hindemith Kleine Sonate, Op. 25 No. 2 III. Langsam
07. Hindemith A Frog He Went A-Courting
08. Hindemith Meditation from Nobilissima Visione
09. Hindemith 3 Leichte Stucke I. Ma?ig schnell, Munter
10. Hindemith 3 Leichte Stucke II. Langsam
11. Hindemith 3 Leichte Stucke III. Lebhaft
12. Hindemith Sonate, Op. 11 No. 3 I. Ma?ig schnelle Viertel. Mit Kraft
13. Hindemith Sonate, Op. 11 No. 3 II. Langsam -
14. Hindemith Sonate, Op. 11 No. 3 Sehr Lebhaft
15. Hindemith Sonate, Op. 11 No. 3 I. Lebhaftes Zeitma?
16. Hindemith Sonate, Op. 11 No. 3 II. Langsam; Sehr Lebhaft
17. Hindemith 6. III. Schnelle Viertel, stets kraft- Und Schwungvoll
18. Hindemith 3 Stucke, Op. 8 I. Capriccio - Lebhaft
19. Hindemith 3 Stucke, Op. 8 II. Phantasiestuck - Ma?ig Langsam
20. Hindemith 3 Stucke, Op. 8 III. Scherzo - Ma?ig schnelle Achtel
Within the extensive repertoire of the German composer Paul Hindemith (1895–1963), music for cello and piano occupies a considerable position in terms of both quantity and quality. Hindemith was primarily a violist and conductor, but his wide-ranging interests led him to experiment with a great variety of instruments both as composer and player, making him a de facto multi-instrumentalist. Among his favourite instruments, the cello always occupied a special place in his activities, among other things because of his collaboration with his brother Rudolf, an excellent cellist.
His original compositions for the specific duo of cello and piano are varied and numerous, and they provide a synthetic vision of the different stylistic instances of an author who never got tired of rethinking and redefining his language. This recording brings together and offers the listener this entire wonderful portion of Hindemith’s catalogue.
The Drei Stücke Op.8 (1917) are undoubtedly among the most important pieces of the composer’s youthful phase. The later Sonata Op.11 No.3, a composition of considerable constructive commitment and complex genesis, is recorded here for the first time in both versions: one from 1919 (lost piano parts reconstructed by Fazıl Say), the other from 1921. The delicate and expressive Drei leichte Stücke ‘Cello in first position’, composed in April 1938, are intended for the didactic sphere, without renouncing in the slightest the peculiarities of the harmonic language of the composer. The same can be said of the brief and melancholic Meditation, a transcription of a movement from Hindemith’s orchestral ballet Nobilissima Visione. More complex is A Frog he went a-courting. Despite its brevity, it is one of the finest pieces on this programme. A dozen concise variations, framed by the initial exposition and the concluding return of the traditional English theme, present a wealth of instrumental, timbral, expressive and dynamic solutions in a small, dense, brilliant display of Hindemith’s compositional mastery. Do not be deceived by the title Kleine Sonate (1942), which is small in size but not in terms of compositional complexity. The imposing Cello Sonata (1948) was written for Gregor Piatigorsky and premiered by him in New York in the year it was composed. Comparing this Sonata to the Sonata Op.11 No.3 conveys a sense of the stylistic evolution across some 30 years.
Year 2024 | Classical | FLAC / APE | CD-Rip | HD & Vinyl
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