Lindemann Plays Clarke, Delius, Dvorák, Hindemith
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CYAN MAGENTA GELB SCHWARZ Booklet T 095 Seite 32 CYAN MAGENTA GELB SCHWARZ Booklet T 095 Seite 1 COVER Rebecca Clarke (1886 – 1979) Sonata for viola and piano (1919) 23'18 1 Impetuoso 7'51 2 Vivace 4'02 3 Adagio – Allegro 11'25 Paul Hindemith (1895 – 1963) Sonate für Viola und Klavier op.11, Nr. 4 17'42 4 Fantasie. Ruhig 3'21 The Lindemann Series Vol. IV 5 Thema mit Variationen. Ruhig und einfach 4'39 6 Finale (mit Variationen). Sehr lebhaft 9'42 Lindemann plays Fritz Kreisler (1875 – 1962) 7 Sicilienne et Rigaudon im Stile von Francoeur 4'43 Clarke, Delius, Dvorák,ˇ Hindemith, Kreisler and Antonin Dvorákˇ (1841 – 1904) / Fritz Kreisler Sarasate Slawischer Tanz Nr. 2 8 Andante grazioso quasi Allegretto 5'04 Hartmut Lindemann, Viola Pablo de Sarasate (1844 – 1908) Ben Martin, Piano Zigeunerweisen 9 Moderato – Allegro molto vivace 8'58 Frederick Delius (1862 – 1934) / Arr.: Lionel Tertis Serenade aus »Hassan« 5 bl 3'27 9 Con moto moderato T E C A Hartmut Lindemann, Viola · Ben Martin, Piano T CYAN MAGENTA GELB SCHWARZ TS Tonträger CYAN MAGENTA GELB SCHWARZ TS Tonträger A Nice Old-fashioned Programme granted the blessing of loving a woman as nata to Berkshire and Pittsfield. In the first much as he loved her. Clarke and Friskin, now round ten compositions were chosen out of a Foreword Stanford (who also advised her to switch to the both 58 years old, married on Saturday the total of 73 which had been sent in. In the sec- He wanted to put together a “nice old-fash- viola) and counterpoint under Sir Frank Bridge; 23 rd September 1944 in New York. ond round these ten were reduced to two. The ioned programme”, answered Hartmut Linde- she took private viola lessons from Lionel Tertis. Rebecca’s work changed dramatically from final round was a hung jury with 3:3 votes. A mann when I asked him about his reasons for She co-founded the “English Ensemble”, a pi- them. She became heavily involved in her hus- further vote had the same result. Now the the choice of repertoire. Behind this seemingly ano quartet which existed from ca. 1910 to band’s work, began to give lectures about founder of the contest was asked to cast her – harmless answer is a highly understandable 1930 consisting only of women, and was one chamber music and composers, assisted on deciding – vote. After this decision the sealed intention: Lindemann did not want to offer of the few female members of the “Queen’s Cobbett’s Cyclopedic Survey of Chamber Mu- envelope containing the name of the composer himself and his listeners music which is strictly Hall Orchestra” conducted by Henry Wood. sic and broadcast a weekly programme about was opened: Ernest Bloch was the winner with determined right from the first second but In 1916 Rebecca Clarke moved to the United chamber music topics on the New York radio his Sonata for Viola and Piano! The jury music which draws the listener and his or her States where she became a successful com- station WQXR. From 1945 she taught at the guessed at Maurice Ravel as the composer of imagination into the musical event – and is poser and soloist, winning the second prize at New York Chautauqua Institution. In 1949 she the work which had thus won second place. thus always able to provide new surprises. I the Berkshire Festival in 1919 with her Sonata was President of the “Chautauqua Society of Elizabeth Coolidge wrote: ‘You should have found Lindemann’s interpretation of Rebecca for Viola and Piano. For her Trio for Violin, Cello New York”. It is obvious that the time from seen their faces when they saw that it was by Clarke’s Viola Sonata so enthralling that the and Piano she also received second prize at the 1944 up until her husband’s death in 1967 a woman!’. – Bloch’s and Clarke’s Sonatas following text pays an inordinate amount of Coolidge Festival in 1921. She was then given were among the happiest and most fulfilled of were first performed at the festival by viola attention to Rebecca Clarke … a composition commission for the Pittsfield her life. On her ninetieth birthday Radio New player Louis Bailly and pianist Harold Bauer. For Festival in 1923. In the same year she made her York honoured her with a programme which Rebecca Clarke herself ’this festival was a Rebecca Clarke – first world tour with the cellist May Muklé. She included some of her compositions. She died marked event in her life. The day of the an- Violinist, Violist, Composer also enjoyed great success with the perform- on 13th October 1979 in New York. nouncement was the most wonderful day she Rebecca Clarke, born on 27th August 1886 in ances of her Clarinet Duet and her Viola Duet had ever experienced.’ ” Harrow, England the daughter of German- at the “ISCM-Festival” in Berkeley in 1942. She The Genesis of the Viola Sonata American parents, was one of the most aston- played in concerts with. Casals, Thibaud, This reflects a part of the hard struggle for ac- Compositional Style ishing women in modern musical history. She Schnabel, Rubinstein, Heifetz, Percy Grainger, knowledgement in an area largely governed by and the Viola Sonata in Particular grew up in a musical background and was George Szell, Pierre Monteux and others. men. Daniela Kohnen wrote: “In 1919 she en- Daniela Kohnen wrote: “If you look at the for- given her first violin instruction at the age of In 1942 Rebecca Clarke met James Friskin in tered her Viola Sonata for the Berkshire Com- mal structure of the compositions, Clarke was eight. At age sixteen she was admitted to the a street in Manhattan; he was a fellow student petition. The first drafts were made at the end not a revolutionary who threw all traditions Royal Academy of Music in London to study the from the time around 1905 with Stanford in of 1918 in Honolulu. Rebecca – back in New overboard. There are references to the compo- violin (H. Wessely, violin; Percy Hilder Miles, London. This chance meeting developed into a York – devoted May and June of 1919 entirely sition tradition of Haydn, Mozart, Beethoven harmony). At seventeen she began to com- passionate, romantic love affair. Rebecca wrote to composing her sonata. Whilst visiting her up to the second Viennese school. As a compo- pose. After switching to the Royal College of to Friskin in August 1944 that she viewed her two brothers in Detroit she noted the comple- sition student of Stanford she often showed a Music, where she was the only female student, own life as orientated towards him. Friskin re- tion date as 3rd July 1919. – Under the male (!) Brahmsian style which the R.C.M. students ac- she studied composition under Sir Charles plied that he had never thought he would be pseudonym of Anthony Trent she sent the so- quired as a basis and which are particularly vis- 2 TACET 095 Seite 2 TACET 095 Seite 3 3 A Nice Old-fashioned Programme granted the blessing of loving a woman as nata to Berkshire and Pittsfield. In the first much as he loved her. Clarke and Friskin, now round ten compositions were chosen out of a Foreword Stanford (who also advised her to switch to the both 58 years old, married on Saturday the total of 73 which had been sent in. In the sec- He wanted to put together a “nice old-fash- viola) and counterpoint under Sir Frank Bridge; 23 rd September 1944 in New York. ond round these ten were reduced to two. The ioned programme”, answered Hartmut Linde- she took private viola lessons from Lionel Tertis. Rebecca’s work changed dramatically from final round was a hung jury with 3:3 votes. A mann when I asked him about his reasons for She co-founded the “English Ensemble”, a pi- them. She became heavily involved in her hus- further vote had the same result. Now the the choice of repertoire. Behind this seemingly ano quartet which existed from ca. 1910 to band’s work, began to give lectures about founder of the contest was asked to cast her – harmless answer is a highly understandable 1930 consisting only of women, and was one chamber music and composers, assisted on deciding – vote. After this decision the sealed intention: Lindemann did not want to offer of the few female members of the “Queen’s Cobbett’s Cyclopedic Survey of Chamber Mu- envelope containing the name of the composer himself and his listeners music which is strictly Hall Orchestra” conducted by Henry Wood. sic and broadcast a weekly programme about was opened: Ernest Bloch was the winner with determined right from the first second but In 1916 Rebecca Clarke moved to the United chamber music topics on the New York radio his Sonata for Viola and Piano! The jury music which draws the listener and his or her States where she became a successful com- station WQXR. From 1945 she taught at the guessed at Maurice Ravel as the composer of imagination into the musical event – and is poser and soloist, winning the second prize at New York Chautauqua Institution. In 1949 she the work which had thus won second place. thus always able to provide new surprises. I the Berkshire Festival in 1919 with her Sonata was President of the “Chautauqua Society of Elizabeth Coolidge wrote: ‘You should have found Lindemann’s interpretation of Rebecca for Viola and Piano. For her Trio for Violin, Cello New York”. It is obvious that the time from seen their faces when they saw that it was by Clarke’s Viola Sonata so enthralling that the and Piano she also received second prize at the 1944 up until her husband’s death in 1967 a woman!’.