In February 1940 Hindemith left the wartime terrors in Europe
for the safety of the USA where he was to make his home. There,
between 1942-43 in what he once described as “the land
of limited impossibilities”, he wrote his Ludus tonalis series
of piano studies at Yale University. During this highly productive
period he also composed his celebrated if cumbersomely titled
orchestral score the Symphonic Metamorphosis of Themes
by Carl Maria von Weber.
A substantial score lasting over fifty minutes the Ludus tonalis opens
with a Praeludium followed by twelve three-voice Fugues,
each with one in the major keys, with eleven Interludes positioned
between them. The score concludes with a Postludium.
The premiere of the score was given by pianist Willard MacGregor
at the University of Chicago in February 1944.
The Ludus tonalis occupies a place in Hindemith’s
oeuvre similar to that of the Art of the Fugue and The Well Tempered
Clavier in the catalogue of Johann Sebastian Bach. Hindemith
subtitled his collection of twenty-five piano pieces: “Studies
in Counterpoint, Tonal Organization and Piano Playing.” The
Latin title Ludus tonalis can be translated as Tonal
games or Tonal play. It seems to imply a series
of short, serious and dry, rather formal pieces. However,
an often overlooked aspect of Ludus tonalis is the
sense of entertainment and even playfulness that Hindemith
communicates.
With this superbly performed interpretation of Ludus tonalis from
Boris Berezovsky I was able to list a short description of
the experience that his playing spontaneously evoked. Praeludium eventful; Fuga
prima tranquil and anxious; Interludium primum high
spirited, rather conceited; Fuga secunda swift and
energetic; Interludium secundum restful; Fuga tertia multi-aceted; Interludium
tertium galloping; Fuga quarta muscular and vulnerable; Interludium
quartum scampering; Fuga quinta jerky and angular; Interludium
quintum soothing cradle-song and agitation; Fuga sexta verging
on sinister; Interludium sextum children’s games; Fuga
septima disconcertion; Interludium septimum a
heavy, dragging intensity; Fuga octavum wavering; Interludium
octavum scurrying; Fuga nona dance-like; Interludium
nonum sultry and steamy; Fuga decima mischievous; Interludium
decimum temperamental; Fuga undecima reverential; Interludium
undecimum apprehension and bewilderment; Fuga duodecima composed
and unruly and the Postludium moody and nervous.
It was difficult to obtain information about the Suite ‘1922’ for
piano - a score that evidently swiftly established
a place in the repertoire. From twenty years earlier than
the Ludus tonalis and cast in five movements, the 1922 utilises
popular American dance themes. Hindemith apparently turned
his back on the work disowning it with the statement that
it was, “really not a honorable ornament in the music-history
of our time.” Guy Rickards in the booklet notes writes
that, “It remains nevertheless a vivid example of his
youthful liberality.”
In 1922 Berezovsky plays as if he was relating a story. The
opening March is suggestive of a Keystone Kops chase;
the Shimmy is jarring and edgy and the Nachtstück is
evocative of the relative quiet of an American city in the
early hours. The Boston movement vacillates and pulsates
excitedly. In the concluding Ragtime amid hints of
the American dance craze one is struck by the strident and
frantic rhythmic activity.
A frequently encountered recording of the same two pieces
is the one made by John McCabe in 1995 on Hyperion CDA66824.
I have
no personal knowledge of the recording but it has received
considerable acclaim and I know several friends that highly
value McCabe’s performances.
There is what the record company describes as ‘Free bonus content
with this CD’ yet despite visiting the Warner Classics website
I was unable to access any bonus content for the purposes
of this review. From my experience this type of ‘free content’ lasts
only a few minutes and seems to be included merely as a marketing
ploy to get holders of the disc to visit the Warner Classics
website. Furthermore any ‘bonus content’ burned off the company
website presents the problem of storage.
Recorded earlier this year at Ekaterinburg in Russia the sound quality
delivered by the Warner Classics engineers is of demonstration
standard. The booklet notes from Guy Rickards are authoritative
and add to the merits of this impressive disc. In this recital
Berezovsky displays magnificent keyboard mastery and a consistently
strong sense of musical purpose alongside a satisfying range
of character and imagination. This disc dispels any entrenched
belief that Hindemith was composer of dry, stuffy and impenetrable
academic music.
Michael
Cookson
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Boris Berezovsky
(piano)