RECORDING OF THE MONTH
Paul HINDEMITH (1895-1963)
Complete Viola Works Volume 1
Der Schwanendreher - Konzert nach alten Volkslidern für
Bratsche und kleines Orchester (1935)* [26:47]
Trauermusik für Streichorchester mit Solobratsche (1936)
[7:33]
Kammermusik Nr. 5 op. 36 Nr. 4 für Solobratsche und
grösseres Kammerorchester (1927) [19:23]
Konzertmusik für Solobratsche und grösseres
Kammerorchester op. 48a [Frühe Fassung] (1929) [26:07]
Tabea Zimmermann (viola)
Deutsches Symphonie-Orchester Berlin/Hans Graf
rec. August 2012, Jesus-Christus Kirche, Berlin Dahlem
MYRIOS CLASSICS MYR010 SACD [79:59]
There is something about good viola playing which lift its musical
expression away from that ‘alto’ feel and brings us closer to
the violin. Conversely my feeling for the violin is that it is at its best
when there is a depth of sound which approaches the sonorities of the viola.
Either way, if you see the viola as playing second-fiddle to the violin then
please think again. If you need convincing then this first volume of Tabea
Zimmermann’s recordings of the complete viola works of Paul Hindemith
may well do the trick.
From the first flourish of Der Schwanendreher we know we are
in for a treat. Zimmermann’s confident bowing and sense of natural
expression take us beyond instrumental considerations, and we´re
immediately immersed in this renowned concerto with its integration of
folksong melodies. Beautifully sensitive orchestral accompaniment completes
this picture, and the warmth of the wind playing in the gentler sections of
the second movement is an object lesson in ‘less is more’. The
colour and life in the final movement has a certain French joie de vivre
played vivaciously in this account, giving plenty of reasons for the work
being an unacceptably fun piece for the 1936 concert planned when the death
of King George V intervened. The Trauermusik was written as a
substitute in just a few hours, and its placement here is perfect, the music
relating to the slow movement of the concerto, its integration of the
chorale Vor deinen Thron tret ich hiermit a master stroke. All of the
deceptively ‘simple’ aspects of this piece are nicely solved
here, for instance the switch to the slower final tempo from 5:08, and that
final chorale is marvellously atmospheric and heartrendingly moving.
The Kammermusik No. 5 is Hindemith’s first concerto for
the instrument he chose over the violin and it is hugely entertaining. The
viola integrates and competes with muscular winds and brass and the balance
is superbly found in this recording, the sense of conflict and triumph not
undermined by the soloist being too close, while all of the notes are clear
from all sections. The signing expression of the second movement is lovely
but played without sentimentality in this recording, Hindemith’s wit
and wry humour elsewhere observed with a keen sense of detail while avoiding
mannered over-emphasis. The military parodies of trilling clarinets and
marching brass in the finale are performed here with gusto and just the
right ‘outdoor’ weight.
Brass and winds are also a strong feature in the Konzertmusik,
Op. 48, and the orchestra is indeed blessed with players of both power
and refinement. Hindemith’s superb orchestration but also the
excellent Deutschlandradio/Myrios recording keeps everything beautifully
transparent, and in a score which is replete with event and ever-changing
musical discourse this version is a delight from beginning to end. The
booklet describes the history of this work, and those of us used to the more
familiar five movement version will be fascinated to know that this is the
première recording of the six movement work which was
Hindemith’s original conception. This reinstates a Langsam,
Schreitende Achtel fourth movement, which gives the opening of the now
complete second part of the concerto a movingly nostalgic feel. The gains in
this first edition version are palpable, but would be nothing without the
deeply heartfelt performance we are given here.
This is a release which can stand its ground against all comers.
There is a CPO release with an identical programme which has Brett Dean as
soloist, CPO 999 492-2 which I’ve had for donkey’s years as part
of Werner Andreas Herbert’s Hindemith ‘complete orchestral
works’ set. These performances are very good and I hadn’t really
imagined them being bettered, but Tabea Zimmermann and Hans Graf now have
the edge in a few ways. The First Edition première of Op. 48a
is a valuable addition to anyone’s collection, and the vivid clarity
and stunning surround effect of the SACD recording is in this case also not
to be sniffed at. In the end even Zimmermann’s superlative playing
might not quite have tipped the balance, but the character in the playing of
the Deutsches Symphonie-Orchester Berlin most certainly does, and for this
and all of the other good reasons mentioned I think this disc is a genuine
winner.
Dominy Clements
A genuine winner.
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