Aureole etc.




Nimbus on-line




If it’s the Czech works you’re after, do not hesitate

  Founder: Len Mullenger
Classical Editor: Rob Barnett


REVIEW

Some items
to consider

 


Enjoy the Gothenburg Symphony Orchestra wherever you are. App available for iOS and Android

Lyrita 4CDs £16 incl.postage

Lyrita 4CDs £16 incl.postage


Decca Phase 4 - 40CDs


Judith Bailey, George Lloyd


BAX Orchestral pieces


CASKEN Violin Concerto

Schumann Symphonies Rattle


Complete Brahms
Bargain price

 

alternatively
AmazonUK

 

Karl Amadeus HARTMANN (1905-1963)
Burleske Musik (1931)a [10:02]
Piano Concerto (1953)a [15:03]
Concerto funebre (1939, rev. 1959)b [20:09]
Viola Concerto (1954/5)c [25:00]
Yorck Kronenberg (piano)a; Benjamin Schmid (violin)b; Elisabeth Kufferath (viola)c; Florian Uhlig (piano)c; SWR Rundfunkorchester Kaiserslautern/Paul Goodwin
rec. SWR Studio Kaiserslautern, 1 September 2004 (Burleske Musik), 5-6 February 2004 (Piano Concerto), 23-24 April 2007 (Concerto funebre) and 25-27 April 2007 (Viola Concerto)
WERGO WER67142 [70:39]
Experience Classicsonline


The backbone of Hartmann’s output undoubtedly rests in his eight symphonies and several orchestral works such as Miserae (1933/4), Symphonische Hymnen (1941/3), Sinfonia Tragica (1940/3) and Klagesang (1944/5). His work-list also includes operas, piano works and some chamber music among which are two string quartets. Most of them have been recorded over the years, although some badly need new recordings. This disc is – to the best of my knowledge – the first recording of his three concertos. Incidentally, one should add that the early Burleske Musik (1931) is not a real concerto but rather a work with an important piano part. There is also another concerto: the Chamber Concerto for clarinet, string quartet and string orchestra (1930/5) available on ECM.

As already mentioned, Hartmann’s Burleske Musik is not a proper concerto but rather a short suite in four concise movements scored for flute, clarinet, bassoon, horn, trumpet, trombone, percussion and piano. It is an early piece and its musical idiom is clearly of its time with many hints of early Stravinsky (The Soldier’s Tale) and early Hindemith with some extra irony at times close to Les Six in France. This is a delightful and enormously enjoyable work from Hartmann’s early years, and light years from his more serious symphonic statements.

By far Hartmann’s best known concerto is the Concerto funebre composed in 1939 and revised in 1959. Unlike some German composers of that period, Hartmann turned to an inner exile and went on composing extensively while forbidding performance in Nazi Germany. Many of these works written in exile resurfaced after the war and some were eventually reworked into some of the early symphonies. One may assume that the violin concerto remained mostly unchanged from its original conception. The music quotes from the Hussite Chorale and, in the final movement, from a Russian workers’ funeral march. This is clearly music of protest expressed with comparatively straightforward means and the more impressive for that reason.

The Konzert für Klavier, Bläser und Schlagzeug is a mighty statement often reminiscent of Bartók. One may at times think of the Hungarian composer’s First Piano Concerto and particularly of its first movement scored for winds and percussion. The first movement Andante et Rondeau varié is an energetic toccata that moves along at great speed. The slow movement (Mélodie) has a more animated central section that strongly contrasts with the calmer outer sections. The third movement is yet another Rondeau varié. An interesting feature of Hartmann’s Piano Concerto is its use of variable meters, a technique developed by Boris Blacher. By the way, this was the only time that Hartmann ever used it.

Hartmann’s final concerto is the Konzert für Viola und Klavier begleitet von Bläsern und Schlagzeug, to give it its full title. It is in three movements: an opening Rondo followed by the slow central Mélodie and a concluding Rondo varié. The instrumental line-up of this and of the Piano Concerto certainly reflects Hartmann’s admiration of Stravinsky’s Concerto for Piano and Winds as well as of Berg’s Chamber Concerto for violin, piano and thirteen winds. It may also reflect Hartmann’s own will to avoid any sentimentality by putting some more emphasis on a certain Sachlichkeit achieved through the rather stringent scoring for winds and percussion. Although less informed by variable meters, the music nevertheless still displays tight organisation based on metric rows. In his last two concertos Hartmann achieved a completely satisfying blend of powerful expression and tightly knit argument, which is in fact his real trade mark.

These performances are all excellent and superbly committed while the recorded sound is very fine indeed with just enough brightness and urgency to bring out Hartmann’s strongly expressive music in the best possible way.

Hubert Culot






 


Gerard Hoffnung CDs

Advertising on
Musicweb


Donate and get a free CD

New Releases

Naxos Classical

Hyperion

Musicweb sells the following labels
Acte Préalable
Alto
Arcodiva
Atoll
CDAccord
Cameo Classics
Centaur
Hallé
Hortus
Lyrita
Nimbus
Northern Flowers
Redcliffe
Sheva
Talent
Toccata Classics


Follow us on Twitter

Subscribe to our free weekly review listing
sample
 


EXPLORE MUSICWEB INTERNATIONAL

Making a Donation to MusicWeb

Writing CD reviews for MWI

About MWI
Who we are, where we have come from and how we do it.

Site Map

How to find a review

How to find articles on MusicWeb
Listed in date order

Review Indexes
   By Label
      Select a label and all reviews are listed in Catalogue order
   By Masterwork
            Links from composer names (eg Sibelius) are to resource pages with links to the review indexes for the individual works as well as other resources.

Themed Review pages

Jazz reviews

 

Discographies
   Composer
      Composer surveys
   National
      Unique to MusicWeb -
a comprehensive listing of all LP and CD recordings of given works
.
Prepared by Michael Herman

The Collector’s Guide to Gramophone Company Record Labels 1898 - 1925
Howard Friedman

Book Reviews

Complete Books
We have a number of out of print complete books on-line

Interviews
With Composers, Conductors, Singers, Instumentalists and others
Includes those on the Seen and Heard site

Nostalgia

Nostalgia CD reviews

Records Of The Year
Each reviewer is given the opportunity to select the best of the releases

Monthly Best Buys
Recordings of the Month and Bargains of the Month

Comment
Arthur Butterworth Writes

An occasional column

Phil Scowcroft's Garlands
British Light Music articles

Classical blogs
A listing of Classical Music Blogs external to MusicWeb International

Reviewers Logs
What they have been listening to for pleasure

Announcements

 

Community
Bulletin Board

Give your opinions or seek answers

Reviewers
Pat and present

Helpers invited!

Resources
How Did I Miss That?

Currently suspended but there are a lot there with sound clips


Composer Resources

British Composers

British Light Music Composers

Other composers

Film Music (Archive)
Film Music on the Web (Closed in December 2006)

Programme Notes
For concert organizers

External sites
British Music Society
The BBC Proms
Orchestra Sites
Recording Companies & Retailers
Online Music
Agents & Marketing
Publishers
Other links
Newsgroups
Web News sites etc

PotPourri
A pot-pourri of articles

MW Listening Room
MW Office

Advice to Windows Vista users  
Questionnaire    
Site History  
What they say about us
What we say about us!
Where to get help on the Internet
CD orders By Special Request
Graphics archive
Currency Converter
Dictionary
Magazines
Newsfeed  
Web Ring
Translation Service

Rules for potential reviewers :-)
Do Not Go Here!
April Fools




Return to Review Index

Untitled Document


Reviews from previous months
Join the mailing list and receive a hyperlinked weekly update on the discs reviewed. details
We welcome feedback on our reviews. Please use the Bulletin Board
Please paste in the first line of your comments the URL of the review to which you refer.