Stathis Karapanos, flute; Philippe Bernot, flute; Philippe Bernot, clarinet; Stephan Schweigert, bassoon; Céline Moinet, oboe; Marie-Pierre Langlamet, harp; David Aaron Carpenter, viola; Christopher Park, piano; Konzerthaus Berlin Chamber Orchestra, Sayako Kusaka, conductor.
Paul HINDEMITH: Concerto for Woodwinds, Harp, and Orchestra
Paul HINDEMITH: 8 Strücke für Flöte allein
Paul HINDEMITH: Sonate für Flöte und Klavier
Paul HINDEMITH: Kanonische Sonatine für zewei Flöten
Paul HINDEMITH: Echo for Flute and Piano
Paul HINDEMITH: Enthusiasm for Flute and Viola
Paul HINDEMITH: Abendkonzert, Nr 2: Flötensolo mit Streichern for Flute and Strings
Ondine ODE1409-2
Formats: CD, digital
Release Date: May 3, 2024
Total Duration: 53 minutes
Giorgio Koukl | 29 JUL 2024
Dedicating an entire album to flute music of the German composer Paul Hindemith is certainly a laudable purpose for which we can be grateful to the Greek flutist Stathis Karapanos. The inevitable fact that there are not enough pieces to fill an entire CD is elegantly solved by including some orchestral music, where the flute is one of the soloists, or inserting extracts of other, longer musical scores.
ODE1409-2 cover art (click to enlarge)
Paul Hindemith (1895–1963) was a prolific German composer, violist, teacher, and conductor. Known for his diverse and innovative contributions to 20th-century music, Hindemith’s works often exhibit a balance of modernity and traditional structures. His approach to music was highly systematic, reflected in his theoretical works and compositions. His approach is highly original, challenging to catalog, and in some ways more similar to the playful French way of conceiving music of a Jolivet or Satie than to the more rigid German conception rooted in Wagner or Bruckner.
The album opens, not very logically, with Concerto for Woodwinds, Harp, and Orchestra (1949), or if you prefer the German version, Konzert für Holzbläser, Harfe und Orchester. It has three movements: “Moderately fast,” “Grazioso,” and “Rather fast.” The last seems the most appropriate, as all three movements are sparkling with energy and joy. The terminal movement uses, in a very subtle way, the well-known Wedding March of Mendelssohn, as Hindemith intended it to be a wedding anniversary present for his wife, Gertrud.
Written for Columbia University of New York as a commission for the Festival of Contemporary American Music, it premiered on May 15, 1949, just in time to become a really original gift for his wife. It is scored for a string orchestra, five brass instrumentalists, and four soloists. In this installment, we can admire besides the flutist Stathis Karapanos: Jörg Widmann, clarinet; Stephan Schweigert, bassoon; Céline Moinet, oboe; and Marie-Pierre Langlamet, harp. All the soloists are gorgeous, witty, and truly inspired, as is the Konzerthaus Berlin Chamber Orchestra under the direction of Sayako Kusaka.
Some solo flute music follows: the Eight Pieces for Flute Solo were written in 1927. These short pieces explore a wide range of techniques and expressions. Each piece is distinct in character, providing a comprehensive overview of Hindemith’s innovative approach to solo instrumental music. They are played in a very precise and characteristic way by Mr. Karapanos. Despite the enormous difficulty of writing for a solo instrument and all the danger of becoming boring, this music is well worth inserting into every solo flute repertoire. It is with bewilderment that we can see the scarce presence of Hindemith in today’s concert programming. He is, unfortunately, following the destiny of many other of his fellow composers between the two world wars; despite all this qualitatively high music, they are often ignored.
The Sonata for Flute and Piano from 1936 follows and is probably the best piece from the whole CD. Played with enthusiasm by Mr. Karapanos, joined here by the pianist Christopher Park. It is the longest piece of this album. With its three movements, this Sonata is notable for its intricate interplay between the flute and piano. It reflects Hindemith’s mature style, blending lyrical lines with complex harmonic and rhythmic structures.
Another gem of chamber music is the Canonic Sonatina for Two Flutes, or, in German, the Kanonische Sonatine für zwei Flöten, Op. 31 No. 3 (1923). A nightmare for any composer, this seemingly impossible duo unfolds under the hands of Hindemith in a glittering marvel exceptionally well played by Mr. Karapanos and his partner Philippe Bernot.
At this point, it has to be said that all of Mr. Karapanos’ chosen collaborators are of the highest quality. This is not a CD with wildly assembled tracks of various provenance, as unfortunately, it is often the case. This is a project that was brought to perfection with its comprehensiveness, attention to the tiniest of details, and a very high standard of recording technique.
The three final tracks are Echo for Flute and Piano (1944), Enthusiasm for Flute and Viola (1942) (with violist David Aaron Carpenter), and Abendkonzert, No. 2: Flötensolo mit Streichern for Flute and Strings (1932). All these scores are interesting music, perhaps not of the same compositional quality as the aforementioned, but well worth considering.
Hindemith’s contributions to flute music are marked by his ability to push the boundaries of traditional forms while maintaining a deep respect for classical techniques. So it is indeed a laudatory act to bring all these scores on a single CD, which will please the 20th-century music lover as well as the flute enthusiast. ■
EXTERNAL LINKS:
- Stathis Karapanos: stathiskarapanos.com
Read more by Giorgio Koukl.
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