Classical Music

In Paul Hindemith's collected works the compositions for violoncello and piano occupy a significant position. They range from solo sonata to concerto with large orchestra. The large number of compositions for cello is perhaps surprising when one recalls that Hindemith first attracted public attention as a violist and that many of his works were written especially for his own concert performances. However Hindemith was always surrounded by cellists - in his private life as well as in the circle of friendly colleagues - who performed his works. Julius Berger: Violoncello / Siegfried Mauser: piano.

This Wergo recording features two of Sofia Gubaidulina's works from the late 1970s/early 1980s that see her establishing a mature style after years of journeyman efforts. The titles of the works point to the Russian composer's deep religious belief, and while there is no text in these purely instrumental works, the spirit of contemplation and wrestling with spiritual questions persists throughout. The pieces are centered around cello and accordion, played here by Julius Berger and Stefan Hussong respectively. "In Croce" was originally written in 1979 as a piece for organ and cello, but it is represented here in a 1991 arrangement for cello and accordion by Elsbeth Moser which Gubaidulina has approved. As it's title suggests, this is an exploration of "vertical" music (the organ or accordion) intersected by the "horizontal" (cello). The work is a steady slow of eerie chords from the accordion with the sinuous, yearning voice of the cello threading through them. While the first half of the work offers a feeling of stasis with the occasional outburst, the second half offers a suspenseful, gradually rising development. The work draws to a close with the cello playing harmonics by which the music seems to evaporate. The Kammerorchester Diagonal conducted by Florian Rosensteiner joins in for the next piece. "Sieben Worte (Seven Words)" for cello, bayan, and strings is a depiction of Jesus' death on the cross in the venerable classical tradition started by Heinrich Sch�tz (whom Gubaidulina subtly quotes at one point). Gubaidulina was attracted to writing for the accordion because it has a very living quality to it, it "breathes", and here the instrument depicts the gradual dying of breath. This is one of Gubaidulina's best pieces, the seven movements offering a variety of textures - even a tragic subject like the crucifixion can still be painted in many shares.