Paul Hindemith's (1895-1963) systematic approach to composition, his Haydn\-like industry and invention, produced no fewer than 10 sonatas for wind instruments between 1936 and 1955....

Paul Hindemith's (1895-1963) systematic approach to composition, his Haydn\-like industry and invention, produced no fewer than 10 sonatas for wind instruments between 1936 and 1955. Even in the years prior to these sonatas, Hindemith had proved to be a highly versatile musician: apart from being a virtuoso violist, an excellent violinist and pianist, he could also hold his own on bassoon, cello and a range of percussion instruments. It is hardly surprising that so versatile and resourceful a musician should have composed the singularly rich and unusual collection of works to which the two albums of this recording are devoted. Considered as a body of work, the Wind Sonatas demonstrate Hindemith's original tonal idiom and his gift for new and personal melodies; his structural invention within inherited sonata forms; his renewal of the instrumental tradition of the 18th and 19th centuries; his skill and sympathy in handling the specific features of each instrument. Hindemith continually has a surprise up his sleeve such as the finale of the Trumpet Sonata, which opens in grand heroic style but winds up in mournful meditation on a Lutheran chorale, Alle Menschen müssen sterben. Even more original is the argument of the Saxophone Sonatas finale, prefaced in the score by an imaginary dialogue in which the pianist begs the saxophonist to search for Silence, Sense and Form brought to life by the soloists liquid reflections over the top of the pianists noisy whirlwind. This release is the latest in a series featuring the pianist Filippo Farinelli accompanying fellow Italian musicians in major collections of song and chamber music by 20th-century composers.