New Recording
Paul Hindemith: Trios No. 1, Op. 34 (1924) & No. 2 (1933) /
Arnold Schoenberg: String Trio, Op. 45
Trio Zimmermann: Frank Peter Zimmermann, violin / Antoine Tamestit, viola / Christian Poltéra, cello
►BIS-2207 SACD (2017)
About the works: the Trio, Op. 34, written in 1924 mostly whilst travelling by train, is notable for the anarchistic turbulence that gave the composer the public image of a “bad boy” or “bogeyman”. What is unmistakeable is the masterly lightness shown by Hindemith’s compositional style of the early 1920s. The parts are written in layers above each other in free counterpoint, without regard for harmonic order. Hurrying along speedily, the musical consummation becomes the actual aim of the composition. The 2nd Trio is entirely different: the aspects of roughness and daredevilry are completely lacking. Instead, one senses Hindemith’s desire to tame the uncontrolled elements of his earlier wild years. This Trio, composed in 1933, apparently replaced its predecessor, which Hindemith and his trio partners Josef Wolfsthal (violin) and Emanuel Feuermann (cello) presented in public for the last time in 1930. The new work especially contrasts with the aggressive Opus 34 in subtle differentiations on the harmonic, rhythmic and formal levels. In particular, Hindemith takes pains to form the transitions between the individual movement sections in a flowing manner and with rich nuances; there is nothing casual about it.
On the interpretation: the “Toccata” which opens Opus 34 is an impetuous Presto into which we are immediately plunged. The three soloists have sufficient opportunity to demonstrate their virtuosity; as is to be expected, they solve this task with breath-taking brilliance. But the Zimmermann Trio reveals further, previously unimagined, ways of perceiving these pieces. The meticulousness with which the linear traits of each part are modelled is most remarkable; they remain transparent even when the polyphony is at its most dense. This interpretational approach reveals the subcutaneous thematic ramifications and makes listening a true journey of discovery. It is also fascinating to hear with what intensity the musicians convey the slow movements. Free of all pathos, they draw mood pictures communicating the impression of an unsentimental yet moving music. This recording is a masterly achievement in interpretation and an absolute must for all lovers of chamber music!
HJW