P. Hindemith - Sonata for Solo Cello/Works for Cello - COMPACT DISCS [CD]

Early works usually provide information about the origin and first manifestations of a composer's musical personality; Hindemith's works for violoncello and piano written in the years 1917 and 1919/20 are no exception. To be sure the earlier pieces document above all the compositional point of departure - the influences of Reger and Strauss on the texture of the piano writing and harmony are obvious - while the later work already exhibits aspects typical of Hindemith's personal style in the 1920s which caused the composer to be viewed as a notorious musical terror. Julius Berger violoncello / Siegfried Mauser piano. Album Tracks 1. Sonate FÜR Violoncello Und Klavier Op. 11 NR. 3 2. Stücke FÜR Violoncello Und Klavier Op. 8 NR. 1 3. Stücke FÜR Violoncello Und Klavier Op. 8 NR. 2 4. Stücke FÜR Violoncello Und Klavier Op. 8 NR. 3

In Paul Hindemith's collected works the compositions for violoncello and piano occupy a significant position. They range from solo sonata to concerto with large orchestra. The large number of compositions for cello is perhaps surprising when one recalls that Hindemith first attracted public attention as a violist and that many of his works were written especially for his own concert performances. However Hindemith was always surrounded by cellists - in his private life as well as in the circle of friendly colleagues - who performed his works. Julius Berger Violoncello / Siegfried Mauser piano. Album Tracks 1. Sonata for Violoncello and Piano 2. Drei Leichte Stücke FÜR Cello Und Klavier 3. Kleine Sonate FÜR Cello Und Klavier 4. 'A Frog He Went A-Courting'. Variations for Violoncello and Piano

The first recording of Paul Hindemith's InchPlöner MusiktagInch is now released This educational work has not been heard as a whole since it's world premiere in 1932 by the composer himself. Initiated and edited by the conductor Jobst Liebrecht, the musical day was realized in Berlin on 13 October 2008 by the Hans Werner Henze Music School in Marzahn-Hellersdorf as well as the local youth symphony orchestra which were both supported by several children's choirs from Berlin. Even the renowned baritone Dietrich Henschel and musicians of the Berlin Radio Symphony Orchestra could be won over to this large project. The aim of this ambitious initiative is to bring young musicians and professionals together and approach the composer's ideas InchplayfullyInch InchI hope, on the one hand, that this music is perceived as a highlight of Hindemith's educational oeuvre and among his complete worksInch, says conductor Jobst Liebrecht. InchOn the other hand, I hope for the Hans Werner Henze Music School in Marzahn-Hellersdorf or, in general, for the educational policy in Berlin that people remember the roots and ideals with which the music school movement began, and that they move forward from the right sense of tradition.Inch The InchPlöner MusiktagInch sets a whole day to music The four parts Morgenmusik [Morning Music], Tafelmusik [Table Music], Kantate [Cantata] and Abendkonzert [Evening Concert] have been written for different levels of difficulty and instrumentations - from recorder trio to orchestral piece and three-part choir. Hindemith wrote the work for a four-day stay in a boarding school in Plön, Schleswig-Holstein in June 1932 where he made music with pupils. Album Tracks 1. Morgenmusik 2. Tafelmusik 3. Kantate 4. Abendkonzert