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Xi Zhai|Hindemith: Kammermusik, Vol. 1

Hindemith: Kammermusik, Vol. 1

Christoph Eschenbach, Schleswig-Holstein Festival Orchestra, Kronberg Academy Soloists

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対応言語:英語

First volume in a series dedicated to Paul Hindemith’s (1895–1963) chamber works includes the first three works in his Kammermusik series together with Kleine Kammermusik written for a wind quintet. This album continues a successful series of recordings of Hindemith’s music together with conductor Christoph Eschenbach. These recordings of chamber music have been recorded with a group of young promising artists, including pianist Christopher Park and cellist Bruno Philippe who are playing the solo parts in the ‘Concertos’, Op. 36.

Hindemith’s postwar period may rightly be described as a time of new beginnings not only for Hindemith personally but also for the European concert world, both in economic and artistic respects. It was during this time that Hindemith wrote his Kammermusik No. 1 (1922), a work for an ensemble of twelve solo instruments. Through to 1929 it was followed by six solo concertos that he designated as the Kammermusiken Nos. 2–7. At the premieres of four of these works the composer himself performed as an instrumentalist or as a conductor. Hindemith described the special character of such solo concertos for chamber orchestra in 1925, when he evaluated compositions that had been submitted to a competition: “The term ‘solo concerto’ is almost nowhere properly understood. Work indeed is done with solo instruments, but they do not perform in concerto style. In others, the prescribed ‘chamber orchestra’ is merely a reduced large orchestra that […] limits itself to producing a noise similar to the one traditionally produced by the larger groups of musicians but with shriveled means. In my view, this chamber orchestra has nothing to do with a proper chamber orchestra, in which only a few instruments of a very specific character (specified by the work) are in operation and with which genuine chamber-musical work is done.” By the time Hindemith ended the series of his seven Kammermusiken in 1929, he stood at the center of the German music world. © Ondine

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Hindemith: Kammermusik, Vol. 1

Xi Zhai

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Kammermusik No. 1, Op. 24 No. 1 (パウル・ヒンデミット)

1
I. Sehr schnell und wild
Xi Zhai
00:01:12

Paul Hindemith, Composer - Christoph Eschenbach, Conductor - Xi Zhai, Artist, MainArtist - Kronberg Academy Soloists, Ensemble - Schleswig-Holstein Festival Orchestra, Orchestra

(C) 2020 Ondine (P) 2020 Ondine

2
II. Mässig schnelle Halbe
Xi Zhai
00:03:30

Paul Hindemith, Composer - Christoph Eschenbach, Conductor - Xi Zhai, Artist, MainArtist - Kronberg Academy Soloists, Ensemble - Schleswig-Holstein Festival Orchestra, Orchestra

(C) 2020 Ondine (P) 2020 Ondine

3
III. Quartett. Sehr langsam und mit Ausdruck
Xi Zhai
00:04:15

Paul Hindemith, Composer - Christoph Eschenbach, Conductor - Xi Zhai, Artist, MainArtist - Kronberg Academy Soloists, Ensemble - Schleswig-Holstein Festival Orchestra, Orchestra

(C) 2020 Ondine (P) 2020 Ondine

4
IV. Finale 1921. Lebhaft
Xi Zhai
00:06:25

Paul Hindemith, Composer - Christoph Eschenbach, Conductor - Xi Zhai, Artist, MainArtist - Kronberg Academy Soloists, Ensemble - Schleswig-Holstein Festival Orchestra, Orchestra

(C) 2020 Ondine (P) 2020 Ondine

Kammermusik No. 2, Op. 36 No. 1 (パウル・ヒンデミット)

5
I. Sehr lebhafte Achtel
クリストファー・パーク
00:03:00

Paul Hindemith, Composer - Christoph Eschenbach, Conductor - Christopher Park, Artist, MainArtist - Kronberg Academy Soloists, Ensemble - Schleswig-Holstein Festival Orchestra, Orchestra

(C) 2020 Ondine (P) 2020 Ondine

6
II. Sehr langsame Achtel
クリストファー・パーク
00:09:21

Paul Hindemith, Composer - Christoph Eschenbach, Conductor - Christopher Park, Artist, MainArtist - Kronberg Academy Soloists, Ensemble - Schleswig-Holstein Festival Orchestra, Orchestra

(C) 2020 Ondine (P) 2020 Ondine

7
III. Kleines Potpourri. Sehr lebhafte Viertel
クリストファー・パーク
00:01:42

Paul Hindemith, Composer - Christoph Eschenbach, Conductor - Christopher Park, Artist, MainArtist - Kronberg Academy Soloists, Ensemble - Schleswig-Holstein Festival Orchestra, Orchestra

(C) 2020 Ondine (P) 2020 Ondine

8
IV. Finale. Schnelle Viertel
クリストファー・パーク
00:06:22

Paul Hindemith, Composer - Christoph Eschenbach, Conductor - Christopher Park, Artist, MainArtist - Kronberg Academy Soloists, Ensemble - Schleswig-Holstein Festival Orchestra, Orchestra

(C) 2020 Ondine (P) 2020 Ondine

Kammermusik No. 3, Op. 36 No. 2 (パウル・ヒンデミット)

9
I. Majestätisch und stark. Mäßig schnelle Achtel
Bruno Philippe
00:02:34

Paul Hindemith, Composer - Christoph Eschenbach, Conductor - Bruno Philippe, Artist, MainArtist - Kronberg Academy Soloists, Ensemble - Schleswig-Holstein Festival Orchestra, Orchestra

(C) 2020 Ondine (P) 2020 Ondine

10
II. Lebhaft und lustig
Bruno Philippe
00:04:58

Paul Hindemith, Composer - Christoph Eschenbach, Conductor - Bruno Philippe, Artist, MainArtist - Kronberg Academy Soloists, Ensemble - Schleswig-Holstein Festival Orchestra, Orchestra

(C) 2020 Ondine (P) 2020 Ondine

11
III. Sehr ruhig und gemessen schreitende Viertel
Bruno Philippe
00:07:45

Paul Hindemith, Composer - Christoph Eschenbach, Conductor - Bruno Philippe, Artist, MainArtist - Kronberg Academy Soloists, Ensemble - Schleswig-Holstein Festival Orchestra, Orchestra

(C) 2020 Ondine (P) 2020 Ondine

12
IV. Mässig bewegte Halbe. Munter, aber immer gemächlich
Bruno Philippe
00:03:17

Paul Hindemith, Composer - Christoph Eschenbach, Conductor - Bruno Philippe, Artist, MainArtist - Kronberg Academy Soloists, Ensemble - Schleswig-Holstein Festival Orchestra, Orchestra

(C) 2020 Ondine (P) 2020 Ondine

Kleine Kammermusik No. 2, Op. 24 No. 2 (パウル・ヒンデミット)

13
I. Lustig. Mässig schnelle Viertel
Kronberg Academy Soloists
00:03:12

Paul Hindemith, Composer - Kronberg Academy Soloists, Ensemble, MainArtist

(C) 2020 Ondine (P) 2020 Ondine

14
II. Walzer. Durchweg sehr leise
Kronberg Academy Soloists
00:02:13

Paul Hindemith, Composer - Kronberg Academy Soloists, Ensemble, MainArtist

(C) 2020 Ondine (P) 2020 Ondine

15
III. Ruhig und einfach. Achtel
Kronberg Academy Soloists
00:04:50

Paul Hindemith, Composer - Kronberg Academy Soloists, Ensemble, MainArtist

(C) 2020 Ondine (P) 2020 Ondine

16
IV. Schnelle Viertel
Kronberg Academy Soloists
00:01:00

Paul Hindemith, Composer - Kronberg Academy Soloists, Ensemble, MainArtist

(C) 2020 Ondine (P) 2020 Ondine

17
V. Sehr lebhaft
Kronberg Academy Soloists
00:03:10

Paul Hindemith, Composer - Kronberg Academy Soloists, Ensemble, MainArtist

(C) 2020 Ondine (P) 2020 Ondine

アルバム·レビュー

First volume in a series dedicated to Paul Hindemith’s (1895–1963) chamber works includes the first three works in his Kammermusik series together with Kleine Kammermusik written for a wind quintet. This album continues a successful series of recordings of Hindemith’s music together with conductor Christoph Eschenbach. These recordings of chamber music have been recorded with a group of young promising artists, including pianist Christopher Park and cellist Bruno Philippe who are playing the solo parts in the ‘Concertos’, Op. 36.

Hindemith’s postwar period may rightly be described as a time of new beginnings not only for Hindemith personally but also for the European concert world, both in economic and artistic respects. It was during this time that Hindemith wrote his Kammermusik No. 1 (1922), a work for an ensemble of twelve solo instruments. Through to 1929 it was followed by six solo concertos that he designated as the Kammermusiken Nos. 2–7. At the premieres of four of these works the composer himself performed as an instrumentalist or as a conductor. Hindemith described the special character of such solo concertos for chamber orchestra in 1925, when he evaluated compositions that had been submitted to a competition: “The term ‘solo concerto’ is almost nowhere properly understood. Work indeed is done with solo instruments, but they do not perform in concerto style. In others, the prescribed ‘chamber orchestra’ is merely a reduced large orchestra that […] limits itself to producing a noise similar to the one traditionally produced by the larger groups of musicians but with shriveled means. In my view, this chamber orchestra has nothing to do with a proper chamber orchestra, in which only a few instruments of a very specific character (specified by the work) are in operation and with which genuine chamber-musical work is done.” By the time Hindemith ended the series of his seven Kammermusiken in 1929, he stood at the center of the German music world. © Ondine

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