Hindemith Vocal and Chamber Works
View record and artist detailsRecord and Artist Details
Composer or Director: Paul Hindemith
Label: CPO
Magazine Review Date: 6/1996
Media Format: CD or Download
Media Runtime: 58
Mastering:
DDD
Catalogue Number: CPO999 332-2
Tracks:
| Composition | Artist Credit |
|---|---|
| (Die) Serenaden |
Paul Hindemith, Composer
Ansgar Schneider, Cello Gunter Teuffel, Viola Lajos Lencsés, Oboe Paul Hindemith, Composer Ruth Ziesak, Soprano |
| Sonata for Cor Anglais and Piano |
Paul Hindemith, Composer
Lajos Lencsés, Cor anglais Paul Hindemith, Composer Shoshana Rudiakov, Piano |
| Sonata for Oboe and Piano |
Paul Hindemith, Composer
Lajos Lencsés, Oboe Paul Hindemith, Composer Shoshana Rudiakov, Piano |
| Trio |
Paul Hindemith, Composer
Gunter Teuffel, Viola Lajos Lencsés, Oboe Paul Hindemith, Composer Shoshana Rudiakov, Piano |
Author:
The central connection of the works collected here is the use as a solo instrument of the oboe – or members of its family, since the cor anglais and heckelphone are tenor and baritone relatives. Not surprisingly Lajos Lencses is the star of the show, effortlessly moving between his three instruments. It is a shame that CPO did not include Wie es war’, wenn’s anders war’, which is featured as a coupling to the sole rival recording of Die Serenaden. The latter, a “Little Cantata after Romantic Texts” written in 1924 as a wedding present for his wife (premiered by her the following year), is the longest work on this disc and billed as the major item, though to my mind it does not overshadow the instrumental items. The only other pieces in Hindemith’s chamber output which might otherwise have qualified for inclusion here are the 1922 Kleine Kammermusik for wind quintet and the Septet (1948).
It is hard to explain why the present recording of the Oboe Sonata (1938) should be the only available account. It is a lively, engaging work – as is that for cor anglais (1941), with which it makes such an obvious pair. The performances are all fine; there is little to choose between the two accounts of the cantata, and would not be in the Trio were it not for the dismaying way Messrs Lencses, Teuffel and Rudiakov fail to observe the prestissimo tempo at the climax here; the Villa Musica Ensemble on Dabringhaus are preferable. Overall, though, a thoroughly enjoyable programme.'
It is hard to explain why the present recording of the Oboe Sonata (1938) should be the only available account. It is a lively, engaging work – as is that for cor anglais (1941), with which it makes such an obvious pair. The performances are all fine; there is little to choose between the two accounts of the cantata, and would not be in the Trio were it not for the dismaying way Messrs Lencses, Teuffel and Rudiakov fail to observe the prestissimo tempo at the climax here; the Villa Musica Ensemble on Dabringhaus are preferable. Overall, though, a thoroughly enjoyable programme.'
Hindemith Vocal and Chamber Works
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