Ikeda Bonsamnang clarinet
Chhan Vitharo & Anton lsselhardt, both flute
Misato Nakaishi & Issei Sakano, both piano
Paul Hindemith (1895-1963)
Sonata for flute & piano /1936
Hindemith completed the Sonata for Flute and Piano (1936) before resigning from his post at the Berlin Hochschule. He composed the work for his colleague, flutist Gustav Scheck, but the Nazi regime forbade the premiere performance. The Sonata is one of a set of 26 sonatas completed between 1935 and 1955. Hindemith sought to expand the concert repertoire, particularly for wind instruments, and used these pieces as technical exercises on the theoretical concepts from his Unterweisung im Tonsatz. The three-movement sonata demonstrates Hindemith’s unique harmonic language, Neo-Classical idioms, and the Neue Sachlichkeit style. Each movement is an exploration of motivic development using primarily three musically independent lines, and the expanded third movement concludes with a parody of a military march.
Sonata for clarinet & piano /1939
The work under consideration here, the Sonata for Clarinet and Piano, is no exception. The piece exemplifies the coalescence and synthesis of Hindemith's various influences and innovations, conveying a neo-Classical concern for formal balance and a rigorous approach to counterpoint, as well as a less severely constructionist -- and ultimately more expressive -- approach to mood and melody. The work is cast in four movements, alternating slow or moderate tempos and/or restrained energy with more lively material.
8 Pieces for solo flute /1927
Paul Hindemith is known for his intimate knowledge of each instrument's idiomatic properties, as evinced by his chamber music and especially his solo and duo sonatas for virtually every modern orchestral and chamber instrument. This same idiomatic expertise can be observed in Hindemith's Pieces (8) for solo flute. With its breathy timbre and high disposition, the flute is among the most vulnerable instruments in an unaccompanied situation. Hindemith's little pieces, with their combination of aphoristic weightlessness and technical intelligibility, are at once poignantly artless and gesturally engaging. Despite (or perhaps because of) Hindemith's highly chromatic approach to linear writing, the listener can't help but hear the composer's musical gestures through the ears and fingers of the performer.
Piano sonata 4 hands /1938
Most of Hindemith's music employs a unique system that is tonal but non-diatonic. Like most tonal music, it is centred on a tonic and modulates from one tonal centre to another, but it uses all 12 notes freely rather than relying on a scale picked as a subset of these notes. Hindemith even rewrote some of his music after developing this system. One of the key features of his system is that he ranks all musical intervals of the 12-tone equally tempered scale from the most consonant to the most dissonant.
Hans Werner Henze(1926-2012)
Sonatina for flute& piano / 1947
Henze's music has incorporated neoclassicism, jazz, the twelve-tone technique, serialism, and some rock or popular music. Although he did study atonalism early in his career, after his move to Italy in 1953, Henze's music became considerably more Neapolitan in style. Hans Werner Henzes large oeuvre of works is extremely varied in style, having been influenced by serialism, atonality, Stravinsky, Italian music, Arabic music and jazz, as well as traditional schools of German composition. In particular, his stage works reflect "his consistent cultivation of music for the theatre throughout his life". Henze was also known for his political convictions. He left Germany for Italy in 1953 because of a perceived intolerance towards his leftist politics and homosexuality. Late in life he lived in the village of Marino in the central Italian region of Lazio, and in his final years still travelled extensively, in particular to Britain and Germany, as part of his work. An avowed Marxist and member of the Communist Party of Italy, Henze produced compositions honoring Ho Chi Minh and Che Guevara.
Darius Milhaud (1892-1974)
From Suite Op.l 57b /1936
Born in Marseille to a Jewish family from Aix-en-Provence, Milhaud began as a violinist, later turning to composition instead. Milhaud studied in Paris at the Paris Conservatory where he met his fellow group members Arthur Honegger and Germaine Tailleferre. He studied composition under Charles Widor and harmony and counterpoint with André Gedalge. He also studied privately with Vincent d'Indy. From 1917 to 1919, he served as secretary to Paul Claudel, the eminent poet and dramatist who was then the French ambassador to Brazil, and with whom Milhaud collaborated for many years, setting music for many of Claudel's poems and plays.