German composer Paul Hindemith wrote concertos for nearly every instrument in the orchestra. Here you get a concert for one of the most common instruments, the violin, along with two distinctively textured orchestral works, the giant Symphonic Metamorphosis of Themes by C.M. von Weber and the somewhat obscure Konzertmusik für Streichorchester und Blechbläser (Concert Music for Strings and Brass Instruments), the earliest piece on the program (it was written in 1930). All three works rely on Hindemith's serious, intricate ...
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German composer Paul Hindemith wrote concertos for nearly every instrument in the orchestra. Here you get a concert for one of the most common instruments, the violin, along with two distinctively textured orchestral works, the giant Symphonic Metamorphosis of Themes by C.M. von Weber and the somewhat obscure Konzertmusik für Streichorchester und Blechbläser (Concert Music for Strings and Brass Instruments), the earliest piece on the program (it was written in 1930). All three works rely on Hindemith's serious, intricate large-scale craftsmanship, combined with the sense of instrumental writing implied by the variety of textures found in his concertos and orchestral works as a whole. The combination, which replicates that of a Chandos release with violinist Leonidas Kavakos, might make a good introduction to Hindemith. The Violin Concerto of 1939 is the standout here. Midori, with her precise, rather wiry tone and unflagging energy in the long line, is an ideal interpreter for the concerto, which is...
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![Hindemith: Violin Concerto [Midori, Christoph Eschenbach] [Ondine: Ode 1214-2]](https://www2.alibris-static.com/cover/n74576ns227_t.jpg)
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