This music is very original, kkeping some roots with tonality in a very peculiar manner. The atmosphere is outstanding. For me, the very beginning has a scribinian mood, which is soetimes contradicted by more ludic moments int he folowing. A very beautiful work.
@@JorgeMorales-fv5cl I have always be interested ("always" meaning about 55 years) by XXth century (Scriabin, Sibelius, Debussy, Stravinsky, Ravel, Hindemith, Bartok, Shistakivitch, Schoenberg, Berg, Webern, Messaies, Boulez, Xenakis, Ligeti, Catrter , etc ....). and by muc sicologic studies at large, including old Roman and >Gregorian art?
Mahler, Falla, Henze, Zimmermann, Krenek, Babbitt, Davies, Tippett, Schnittke, Prokofiev, Gerhard, Milhaud?? What about those?? Henze IS my favorite XX century composer (post-Mahler, at least)@@gerardbegni2806
Glad I stuck through and listened to the whole thing. An extremely interesting piece that I'm not 100% certain I can sell to an audience on a program (unless it was at a university on a themed program) as much as I would like. After hearing BOTH versions of the final movement, I've decided I prefer the virtuoso and toccata like second version which is blissfully shorter and much more compact though probably more difficult than the longer earlier version. It provides a bit of relief from the intense Marche Funebre which is the meat of the piece. No doubt regardless of where it's placed on a recital program it is obviously an important work by an unjustly neglected composer whose synthesis of styles is highly evocative of the musical climate of the time and the aforementioned composers comparisons that others have referenced> I'm going to explore his other works to see if there is a thread there that leads to this. Ironically he died the same year that Hindemith did.
In this Sonata, Hartmann draws together influences from the major strands of Germanic music at the time-Berg, Schoenberg and Hindemith--to create something of a niche style. This piece is almost exactly contemporary with his second string quartet but it is very different from the quartet. More calm, and less Bartok in the mix.
This very composer had a dream of an alternative vision for modern music with the establishment of Musica Viva Munich. However Musica Viva after his death did not fulfill his dream.
Yes of course you can hear it like that. Nevertheless, there is much emotion in that score; while Hindemith's purpose was firstly objectivity within a contrapuctic language. Perhaps the most striking similarity point is the final cadence.
This music is very original, kkeping some roots with tonality in a very peculiar manner. The atmosphere is outstanding. For me, the very beginning has a scribinian mood, which is soetimes contradicted by more ludic moments int he folowing. A very beautiful work.
It begins with a quotation from Stravinsky's "Le Sacre du Printemts".
@@Cyllaris Yes you can hear ir in that way.
Good. You are Hindemith's fan and expert, are you not?
@@JorgeMorales-fv5cl I have always be interested ("always" meaning about 55 years) by XXth century (Scriabin, Sibelius, Debussy, Stravinsky, Ravel, Hindemith, Bartok, Shistakivitch, Schoenberg, Berg, Webern, Messaies, Boulez, Xenakis, Ligeti, Catrter , etc ....). and by muc sicologic studies at large, including old Roman and >Gregorian art?
Mahler, Falla, Henze, Zimmermann, Krenek, Babbitt, Davies, Tippett, Schnittke, Prokofiev, Gerhard, Milhaud?? What about those?? Henze IS my favorite XX century composer (post-Mahler, at least)@@gerardbegni2806
I really like the funeral march! So much emotion in it!
Fantastic!
Glad I stuck through and listened to the whole thing. An extremely interesting piece that I'm not 100% certain I can sell to an audience on a program (unless it was at a university on a themed program) as much as I would like. After hearing BOTH versions of the final movement, I've decided I prefer the virtuoso and toccata like second version which is blissfully shorter and much more compact though probably more difficult than the longer earlier version. It provides a bit of relief from the intense Marche Funebre which is the meat of the piece. No doubt regardless of where it's placed on a recital program it is obviously an important work by an unjustly neglected composer whose synthesis of styles is highly evocative of the musical climate of the time and the aforementioned composers comparisons that others have referenced> I'm going to explore his other works to see if there is a thread there that leads to this. Ironically he died the same year that Hindemith did.
In this Sonata, Hartmann draws together influences from the major strands of Germanic music at the time-Berg, Schoenberg and Hindemith--to create something of a niche style. This piece is almost exactly contemporary with his second string quartet but it is very different from the quartet. More calm, and less Bartok in the mix.
Amazing!
❤
This very composer had a dream of an alternative vision for modern music with the establishment of Musica Viva Munich. However Musica Viva after his death did not fulfill his dream.
It sounds mostly like a piano piece by Hindemith
Yes of course you can hear it like that. Nevertheless, there is much emotion in that score; while Hindemith's purpose was firstly objectivity within a contrapuctic language. Perhaps the most striking similarity point is the final cadence.
II. 4:04
III. 8:14
IVa. 19:51
IVb. 27:48
💻💻💻💻