The music of Paul Hindemith is not performed as often as it once was, and the chamber concertos going by the name Kammermusik exemplify why: the details that make each work distinctive are buried under similar layers of dense counterpoint and intervallic devices that have to be followed in order to understand what the composer is doing. They require vigorous, strongly accented performances that don't let the music bog down, and that's exactly what they get here from the Schleswig-Holstein Festival Orchestra under conductor ...
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The music of Paul Hindemith is not performed as often as it once was, and the chamber concertos going by the name Kammermusik exemplify why: the details that make each work distinctive are buried under similar layers of dense counterpoint and intervallic devices that have to be followed in order to understand what the composer is doing. They require vigorous, strongly accented performances that don't let the music bog down, and that's exactly what they get here from the Schleswig-Holstein Festival Orchestra under conductor Christoph Eschenbach, with soloists from the Kronberg Academy. The contrast between the octogenarian Eschenbach and the youthful solo players may add an indefinable appeal here, but whatever the case, the musicians seem to lend each other energy. Listen to the solo work of Ziyu Shen on the unusual viola d'amore in the Kammermusik No. 6. Op. 46, No. 1; in these works of the mid-1920s, Hindemith was well on his way to the mature style in which he systematically exploited the...
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![Hindemith: Kammermusik [Kronberg Academy Soloists; Schleswig-Holstein Festival Orchestra; Christoph Eschenbach] [Ondine: Ode 1357-2]](https://www1.alibris-static.com/cover/o67726hhwza_t.jpg)
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