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Paul Hindemith - Septet for Winds скачать в хорошем качестве

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Paul Hindemith - Septet for Winds
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Paul Hindemith - Septet for Winds

Paul Hindemith (1895-1963) Septet (1948) for flute, oboe, clarinet, bass clarinet, bassoon, trumpet and horn 1. Lebhaft 2. Intermezzo. Sehr langsam 3. Variationen. Mässig schnell 4. Intermezzo. Sehr langsam 5. Fuge. Alter Berner Marsch Ginevra Petrucci, flute Kelly Smestad, oboe Kai Hirayama, clarinet Carina Canonico, bass clarinet Garrett Brown, bassoon Lucas Balslov, trumpet Wil Dannenberg, horn Recorded live at Staller Center for the Arts, Stony Brook, NY March 27th 2018 (Audio/Video engineer: Adele Dusenbury) --- Paul Hindemith left Germany in the mid-1930s. His music got him labeled a "Cultural Bolshevik" by Nazi propaganda minister Joseph Goebbels. Hindemith's last memories of Germany were of being scorned by concert organizations and audiences and relegated to the "cultural scrap heap." When he next returned to Europe in 1947 he booked numerous concerts in countries surrounding Germany (including Austria), but none in Germany itself, and he came away highly suspicious when he found himself treated, especially in the modern musical center of Darmstadt, as some sort of culture hero. "It's considered an honor having been on the scrap heap," he remarked tartly in a letter to his publisher a couple of years later. He was right to remain skeptical. Within a very few years the very same Darmstadters would embrace serialism as the only path to the future in music, and consign the music of Hindemith and others who persisted in writing tonal music to their own scrap heap. On return to his home in New Haven, CT, Hindemith worked with difficulty on a revision of his great song cycle Das Marienleben, severely reworking it to fit in with his new theories of harmony and tonality. The premiere of the revision was planned for Hannover, in Germany, in 1948. Hindemith wrote new music faster than he revised old music, and after the Hannover recital he happily retreated to Taormina, Sicily where he wrote all but the last movement of this very strong Wind Septet. He completed the work on the same trip in December in Rome. The work seems to reconcile Hindemith's more cerebral style of that time with the brashness and electricity of the music in his early Kammermusik series. It is a 16-minute work in five movements. Its scoring is for standard wind quintet (flute, oboe, clarinet, bassoon, horn) plus a trumpet and a bass clarinet. The five movements are deployed in an arch form, with the third movement as the keystone. This movement (Variationen: Mäßig schnell) is a theme-and-variations movement, with each of the instruments being given its own theme and an opportunity to lead the ensemble in one variation on it. The two movements flanking the center are both marked "Intermezzo, Sehr langsam" and are literally mirrors of each other: the fourth movement is the second movement played in retrograde. The outer movements (the first movement is marked Lebhaft and the fifth is "Fuga -- Alter Berner Marsch -- Schnell") also reflect each other in that the "Old March from Berne" used as the fugue subject in the finale is also present in the first movement. The work gets off to an arresting start with a highly dissonant trilled chord and maintains its excitement even through the paired retrograde movements. It is a distinctive addition to the chamber music repertory and makes a strong case that Hindemith's wind quintet formulation might become a standard one. (from allmusic.com)

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