Hindemith: Drei Stücke: Op. 8 / Sonate, Op. 25.3 / Sonate, Op. 11.3 / Meditation aus Nobilissima Visione David Geringas & Ian Fountain

• Paul Hindemith (1895-1963): Three Pieces for Cello and Piano, Op. 8
• 1 No. 1, Capriccio A Major 03:08
• 2 No. 2, Phantasiestück B Major 09:34
• 3 No. 3, Scherzo C Minor 10:00
• Sonata for Solo Cello, Op. 25 No. 3
• 4 I. Lebhaft, sehr markiert (Mit festen Bogenstrichen) 01:33
• 5 II. Mäßig schnell, gemächlich (Durchweg sehr leise) 01:31
• 6 III. Langsam 03:38
• 7 IV. Lebhafte Viertel (Ohne jeden Ausdruck und stets pianissimo) 00:44
• 8 V. Mäßig schnell (Sehr scharf markierte Viertel) 01:52
• Meditation for Cello and Piano from the ballet 'Nobilissima Visione'
• 9 Meditation for Cello and Piano from the ballet 'Nobilissima Visione' 03:30
• Sonata for Cello and Piano, Op. 11 No. 3
• 10 I. Mäßig schnelle Viertel. Mit Kraft 10:05
• 11 II. Langsam 08:49
• Total Runtime 54:24

Info for Hindemith: Drei Stücke: Op. 8 / Sonate, Op. 25.3 / Sonate, Op. 11.3 / Meditation aus Nobilissima Visione

Already in 1995, David Geringas recorded the three concertos for violoncello by Hindemith with Werner Andreas Albert and the Queensland Symphony Orchestra. On this CD, he dedicates himself to three early chamber works, and an adaptation of the 'Meditation' from the 1938 ballet 'Nobilissima Visione' for cello and piano which appears here on CD for the first time. The early Pieces, Op. 8 are presented as late romantic character pieces by Geringas and his piano partner Ian Fountain; their tone is reminiscent of Brahms, Schumann or Strauss. The concluding scherzo has traces of Hindemith's later, often sarcastic music. Some chord combinations remind one of Debussy; Geringas and Fountain allow precisely these passages to sound forth with sensitive feeling. The Solo Cello Sonata was, according to Hindemith's own information, the result of a 'composition competition for cello sonatas'. Geringas gets to work unpretentiously, emphasising the recalcitrant gestures of the outer movements. The cellist brings out the brooding quality of the contrasting middle movement with intensive colours.

Both interpreters tackle the toccata-like first movement of the Cello Sonata, Op. 11 No. 3 with the necessary verve; it is a movement that can be considered an example of Hindemith's so-called neo-baroque manner of composing. Especially impressive is the way the musicians bring out the dynamic intensifications within the narrowest space. Geringas resonantly interprets the 'Meditation' from the ballet 'Nobilissima Visione' as an expansive cantilena.

David Geringas, violoncello
Ian Fountain, piano

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