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Wednesday, May 29, 2019

Karl Amadeus Hartmann - Concertos (Various Artists)


Information

Composer: Karl Amadeus Hartmann
  • (01) Burleske Musik
  • (05) Concerto for piano, winds & percussion
  • (08) Concerto funebre for violin & string orchestra
  • (12) Concerto for viola & piano, accompanied by winds & percussion

Yorck Kronenberg, piano (1-7)
Benjamin Schmid, violin (8-11)
Elisabeth Kufferath, viola & Florian Uhlig, piano (12-14)

SWR Radio Orchestra Kaiserslautern
Paul Goodwin, conductor

Date: 2009
Label: Wergo

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Review

The other Amadeus: a fine introduction to Hartmann the concerto composer

Hartmann’s reputation rests so firmly on his symphonies that it is easy to forget that he composed at least half a dozen concertos, although not all have survived. Recordings of the Concerto funebre (1939, rev 1959) are appearing at the rate of two or three per year but Faust’s remains the best modern recording, just shading Ibragimova, with Schneiderhan’s an excellent historical alternative. Schmid’s is a fine, fluent if mannered account but strives overmuch to be expressive; less is more in this music which needs no such help.

In the Piano Concerto (1953), Maria Bergman set the benchmark in 1972, a vibrant performance fully alive to Hartmann’s vision. Kronenberg’s is blessed with superior sound and his technical prowess negotiating Hartmann’s unidiomatic writing is highly impressive. So, too, is the adroitness throughout of the South West German Radio Orchestra under Goodwin and nowhere better than in the disc’s opening work, the early Burleske Musik (1931) for wind sextet, percussion and piano. Chamber rather than orchestral in genre, Burleske Musik allows the orchestra’s wind principals to shine and establishes the key stylistic foundation for all of Hartmann’s music: Hindemith.

Wergo sensibly concludes with the Concerto for Viola with Piano, Winds and Percussion (1954-55), something of a double concerto for unequal partners: Berg’s Chamber Concerto (which Hartmann admired greatly) and Shostakovich’s First for piano are two others. Wergo’s sound is bright and vivid, the percussion not so backward as on the Capriccio rival. Kufferath and Uhlig are as persuasive as Masurenko and Zichler in the solo roles and I find the newcomers’ quicker tempi for the complex central Melodie more convincing than their competitor.

-- Guy Rickards, Gramophone

Another review:
http://www.musicweb-international.com/classrev/2009/June09/Hartmann_wer67142.htm

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Karl Amadeus Hartmann (2 August 1905 – 5 December 1963) was a German composer. Hartmann studied with Joseph Haas, a pupil of Max Reger, and later received encouragement from Hermann Scherchen. He voluntarily withdrew completely from musical life in Germany during the Nazi era and refused to allow his works to be played there. After the war, he became a vital figure in the rebuilding of (West) German musical life. Hartmann's music is a synthesis of many different idioms, including musical expressionism and jazz stylization, into organic symphonic forms in the tradition of Bruckner and Mahler.
https://en.wikipedia.org/wiki/Karl_Amadeus_Hartmann

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