Hartmut Lindemann - Hartmut Lindemann & Ben Martin - COMPACT DISCS [CD]
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My skepticism on my first encounter in about 1991 - Never heard of him, who on earth is Mr Lindemann?Inch tipped suddenly over into unbounded enthusiasm, which has since mellowed into calm confidence Lindemann has for the first time convinced me so firmly of the use of a rounded bow, with his portrayal of Bach's Chaconne, that I really Inchcouldn't botherInch about it's usage. The music created with it is overwhelming. [...] And if a player can summon up enough ardent eloquence, which supersedes all questions about the wherefore of the realization, we can only be talking about a really top-drawer musician...Inch (Stereoplay) Inch... There are basically two ways to play this work (Arnold Bax Sonata) tightly and dramatically, as Tertis and Bax do; or more discursively and romantically, as William Primrose and Harriet Cohen do in the other notable historical recording. Lindemann and Martin take the latter course, but execute their interpretation more convincingly than Primrose and Cohen. They shape the Celtic-influenced melodies with a sure touch and get right inside the music. (...) If you buy no other viola recital in 1994, buy this one.Inch (The Strad)
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- GenreClassicalDescriptionMy skepticism on my first encounter in about 1991 - Never heard of him, who on earth is Mr Lindemann?Inch tipped suddenly over into unbounded enthusiasm, which has since mellowed into calm confidence Lindemann has for the first time convinced me so firmly of the use of a rounded bow, with his portrayal of Bach's Chaconne, that I really Inchcouldn't botherInch about it's usage. The music created with it is overwhelming. [...] And if a player can summon up enough ardent eloquence, which supersedes all questions about the wherefore of the realization, we can only be talking about a really top-drawer musician...Inch (Stereoplay) Inch... There are basically two ways to play this work (Arnold Bax Sonata) tightly and dramatically, as Tertis and Bax do; or more discursively and romantically, as William Primrose and Harriet Cohen do in the other notable historical recording. Lindemann and Martin take the latter course, but execute their interpretation more convincingly than Primrose and Cohen. They shape the Celtic-influenced melodies with a sure touch and get right inside the music. (...) If you buy no other viola recital in 1994, buy this one.Inch (The Strad)ArtistHartmut LindemannTitleHartmut Lindemann & Ben MartinFormatCDLabelTacet Records
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Hartmut Lindemann very rarely records a CD. This new one is only his fifth in fifteen years, anxiously awaited by his fans. The meticulous care he devotes to the production is all the greater. He structures his programs as recitals in the old-fashioned sense, varied collections of witty, sensitive and virtuoso pieces; so it is no surprise that when he is asked about his artistic roots he only mentions a few role models from the early twentieth century. He plays the Arpeggione Sonata with guitar accompaniment instead of piano. This is not surprising, as the work was not composed for the viola, but for the arpeggione with piano. And his rendering of Schumann's D Minor Sonata is most unusual when played on a viola. This recording must surely overshadow many a violin version. The recital is rounded off by a little recording of Hubay's Zephyr, written in 1982 in strange circumstances.
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He [Hartmut Lindemann] combines a finely spun, expressive tone with creative intelligence and effortless brilliance right up to the top notes where the viola often sounds like a violin. Supported by pianist Gunther Herzfeld with nimble improvisation, Lindemann improves on many a frivolous piece with his thoughtfulness, creating the right atmosphere for the CD title (named after a Debussy arrangement) Beau soir - a lovely evening. (Frankfurter Allgemeine Zeitung)
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