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Sunday, March 15, 2020

Bohuslav Martinů; Paul Hindemith; Arthur Honegger - Cello Concertos (Johannes Moser)


Information

Composer: Bohuslav Martinů; Paul Hindemith; Arthur Honegger
  • (01) Martinů - Cello Concerto No. 1, H. 196
  • (04) Hindemith - Cello Concerto
  • (07) Honegger - Cello Concerto

Johannes Moser, cello
Deutsche Radio Philharmonie Saarbrücken Kaiserslautern
Christoph Poppen, conductor

Date: 2011
Label: Hänssler Classic

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Review

Three of the finest 20th-century cello concertos in fascinating juxtaposition

The most popular modern cello concertos tend to be lyric-dramatic, works that appear to tell a story, such as Elgar’s, Shostakovich’s First, Myaskovsky’s. The three works performed here by Johannes Moser have their roots in more Classical models, their expressive purpose arising from but in balance with their architectural-structural concerns.

Honegger’s Concerto (1929) is the earliest and by some way briefest of the three. Its winning opening lyrical idea recurs at key points, providing thematic unity. Martinu’s First Concerto followed a year later but was twice revised (1939 and 1955). Like Hindemith’s (1940), its three-movement format is more traditional in ethos, fast-slow-fast, and the heart of both lies in their central slow spans. Both are more complex than they at first seem.

Moser’s playing is technically adroit and he has audibly tuned in to each composer’s idiom. From his brief introductory note it is clear he sympathises with their individuality of approach and refusal to kowtow to serialism, though their example was followed by rather more creators than he gives credit for. The grouping is a revealing one none the less and Moser’s accounts are competitive without being first choices. His lightness, at times thinness, of tone is a disadvantage, cf Poltéra’s Honegger. Wallfisch with Yan Pascal Tortelier is peerless among modern interpreters in the Martinu and I prefer him also in the Hindemith (though Paul Tortelier remains my top choice). Geringas’s programme of all three Hindemith concertos has obvious appeal but Moser’s has a more focused context. Hänssler’s fine sound makes this an attractive alternative version for all three works.

-- Guy Rickards, Gramophone

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Bohuslav Martinů (December 8, 1890 – August 28, 1959) was a Czech composer of modern classical music. Martinů began as a violinist of the Czech Philharmonic Orchestra. In the early 1930s he found his main font for compositional style, the neo-classical as developed by Stravinsky. With this, he expanded to become a prolific composer, who wrote almost 400 pieces, included 6 symphonies, 15 operas, 14 ballet scores and a large body of orchestral, chamber, vocal and instrumental works. He is compared with Prokofiev and Bartók in his innovative incorporation of Central European ethnomusicology into his music.
http://en.wikipedia.org/wiki/Bohuslav_Martin%C5%AF

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Paul Hindemith (16 November 1895 – 28 December 1963) was a German composer, violist, violinist, teacher and conductor. Hindemith is among the most significant German composers of his time. His early works are in a late romantic idiom, and he later produced expressionist works, before developing his neoclassical style in the 1920s. Notable compositions include his song cycle Das Marienleben (1923) and opera Mathis der Maler (1938). Hindemith's most popular work, both on record and in the concert hall, is probably the Symphonic Metamorphosis of Themes by Carl Maria von Weber, written in 1943.

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Arthur Honegger (10 March 1892 – 27 November 1955) was a Swiss composer, who was born in France and lived a large part of his life in Paris. He was a member of Les Six, but his style is weightier and more solemn than that of his colleagues. His most frequently performed work is probably the orchestral work Pacific 231, which was inspired by the sound of a steam locomotive. The principal elements of Honegger's style are: Bachian counterpoint, driving rhythms, melodic amplitude, highly coloristic harmonies, an impressionistic use of orchestral sonorities, and a concern for formal architecture.
http://en.wikipedia.org/wiki/Arthur_Honegger

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Johannes Moser (born 1979) is a German-Canadian cellist. He began studying the cello at the age of eight and became a student of David Geringas in 1997. He has performed with the world’s leading orchestras including the Berlin Philharmonic, New York Philharmonic, Los Angeles Philharmonic, etc. A dedicated chamber musician, Johannes has played with Joshua Bell, Emanuel Ax, Leonidas Kavakos, Menahem Pressler, James Ehnes, Midori and Jonathan Biss. He has also performed at many festivals. In March 2015, Johannes Moser signed with PENTATONE as an exclusive recording artist.
https://en.wikipedia.org/wiki/Johannes_Moser
http://www.johannes-moser.com/

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