As a Hindemith completist, I bought this CD for the "lost" piano concerto. It is a well performed piece from his earlier dissonant period, showing hints of his sweeping mature works to come in the 1930's through the early 1950's.
The Dvorak New World Symphony is a real shocker! Eschenbach "does everything wrong", and it turns out great! Defying the traditional grand "Western European" approach to this piece (definitively rendered by George Szell and Bruno Walter), Eschenbach gives us a gentler, more pastel, and most AMERICAN interpretation (it WAS written here). I've played it for friends who are similarly surprised and impressed. Only occasionally does the definition get a little muddy (as if the conductor couldn't make up his mind whether the strings or the woodwinds should come to the front), and I've heard better brass.
Nonetheless, conducting essentially a student orchestra, Eschenbach renders a fresh and winning interpretation of this old standard. This is the twentieth recording of this piece in my collection, and it ranks very near the top!
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Please note this. Initially, I gave this product FOUR STARS. However, three years after posting the review, I realized that I had never listened to the Hindemith composition again. And so, I decided to give it another try. And so, upon listening again some three years later, that is, on August 7, 2015, I decided that the piece was unbearable to the ears. And so, I downgraded the product to TWO STARS. I downgraded it to TWO STARS, not because of the rendition or to the sound engineering, but because the composition itself was jarring and unpleasant. (This review does not comment on the Dvorak composition.)
What appears below is actually two reviews, one a recording by CURTIS INSTITUTE OF MUSIC, and the other for a recording of another Hindemith rarity, this one recorded by LOUISVILLE ORCHESTRA.
PIANO CONCERTO FOR LEFT HAND (1923) by Paul Hindemith has four movements, lasting 2 minutes and 30 seconds, 3 min 10 sec, 6 min 43 sec, and 5 min 37 sec, respectively. The disc comes with a 30-page booklet. The front and rear covers feature color photographs of the conductor and pianist, with members of the orchestra surrounding the two gentlemen. Pages 6-9 have a biography of Mr. Hindemith, while pages 10-12 provide a bio of Antonin Dvorak. Then, there is a 1-page bio for each of Christoph Eschenbach (conductor) and of Leon Fleisher (pianist), which is followed by 7 pages on the Curtis Institute of Music and its orchestra.
FIRST MOVEMENT. From the first few bars, it is apparent that this is in the typical Hindemith style. This piece is not a stylistic outlier. On occasion, the first movement contains little motifs that sound like parts of MATHIS DER MALER, Hindemith's best known composition. The first movement has a moderate pace.Read more ›