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Che fai tù? - Villanelles

Cyrillus KREEK
The suspended harp of Babel

violin concertos - Ibragimova

Peteris VASKS
Viola concerto - Maxim Rysanov

The Complete Lotte Schöne


Beethoven String Quartets

Produzioni Armoniche

Seven Symphonic Poems

Shostakovich VC1 Baiba Skride
Tchaikovsky Symph 5 Nelsons

Vivaldi Violin Concertos





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 Hartmannís 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 Ė to the best of my knowledge Ė 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, Hartmannís 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 Soldierís 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 Hartmannís early years, and light years from his more serious symphonic statements.

By far Hartmannís 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 workersí funeral march. This is clearly music of protest expressed with comparatively straightforward means and the more impressive for that reason.

The Konzert fŁr Klavier, Blšser und Schlagzeug is a mighty statement often reminiscent of Bartůk. One may at times think of the Hungarian composerís First Piano Concerto and particularly of its first movement scored for winds and percussion. The first movement Andante et Rondeau variť is an energetic toccata that moves along at great speed. The slow movement (Mťlodie) has a more animated central section that strongly contrasts with the calmer outer sections. The third movement is yet another Rondeau variť. An interesting feature of Hartmannís 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.

Hartmannís final concerto is the Konzert fŁr Viola und Klavier begleitet von Blšsern und Schlagzeug, to give it its full title. It is in three movements: an opening Rondo followed by the slow central Mťlodie and a concluding Rondo variť. The instrumental line-up of this and of the Piano Concerto certainly reflects Hartmannís admiration of Stravinskyís Concerto for Piano and Winds as well as of Bergís Chamber Concerto for violin, piano and thirteen winds. It may also reflect Hartmannís 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 Hartmannís strongly expressive music in the best possible way.

Hubert Culot


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