Search - Paul Hindemith, Martyn Barbbins, Martyn Brabbins :: Hindemith: Viola Vorks Vol.1

What a gem this is!

James M. Boubonis | 03/07/2000

(5 out of 5 stars)

"As an admirer of the chief proponent of quartal/quintal harmony, the overly-neglected yet brilliant Paul Hindemith, I can't believe I didn't buy this recording earlier! Paul Cortese, evidently the world's greatest apologist for Hindemith's viola works, has chosen to record the entire oeuvre. This disc contains the three concerti for viola and small orchestra, and, as usual, Hindemith does not fail to provide fascinating contrapuntal textures throughout these works, coupled with modern yet thoroughly listenable harmonies. Cortese takes on the complex pieces and brings out the best in them: athletic, technical passages carried out flawlessly; pensive, moody gray-brown meditations moaning in the mid- and low-ranges of the viola; or romantic moments enjoined with Cortese's rich, fluid tone. The Philharmonia Orchestra, unsurprisingly, supports the soloist with the clean precision required of Hindemith.These viola works by Hindemith were long in need of a champion. Cortese, a product of the University of Illinois, New England Conservatory, Curtis Institute, and a wealth of international experience, seems a likely loung lad. Notwithstanding the new enfants terrible like Shakrevi, Tydipujev, and Tuji Fuji, Paul Cortese has definitely made his mark on the world of violists with this excellent recording."

Lackluster interpretations

James M. Boubonis | 11/26/2003

(1 out of 5 stars)

"I was a little surprised at the lackluster interpretations that these concertos had from Cortese. I am a huge fan of these works, and I highly prefer the versions of the Der Schwanendreher (Albany Records) and Konzertmusik (Old Louisville recording) by Raphael Hillyer, and the Kammermusik by Kashkashian. This disc is about equal in quality to the Brett Dean recording of the Hindemith Concertos (with Queensland Symphony Orchestra), which is equally lackluster. Overall, these interepretations are somewhat unimaginative. I missed the quicker tempos of the fast movements heard in the Hillyer versions, especially the 3rd movement of the Konzertmusik and the last movement of the Der Schwanendreher. The tone quality in the Kashkashian Kammermusik is far superior."