Clarke - Hindemith - Bloch: '1919 ' by Barbara Buntrock / Daniel Heide

Barbara Buntrock / Daniel Heide

Clarke - Hindemith - Bloch: '1919 '

Format: CD
Label: CAvi
UPC: 4260085533046
Catnr: AVI 8553304
Release date: 13 February 2014

1 CD

Label
CAvi

UPC
4260085533046

Catalogue number
AVI 8553304

Release date
13 February 2014

Album

Artist(s)

Composer(s)

About the album

In 1919 Clarke entered her viola sonata in a competition and tied for first place along with Bloch’s suite for viola and piano. Two years later, Clarke’s new piano trio was well received at the same competition, leading to a commission to compose for the festival. Her three-movement sonata for viola and piano breaches the Classical norm by ending with a slow movement.

Paul Hindemith, on the other hand, would hardly have chosen such Romantic imagery to grace his Viola Sonata op. 11, No. 4. His goal was to leave the 19th century and the aesthetic of the past far behind him. Hindemith’s career began during the turbulent years of inflation and crisis following the First World War. …. Written in barely two weeks (27 February to 9 March 1919), the Viola Sonata is the first work written by Hindemith after his return from the war.

Bloch’s Suite for Viola and Piano contains some stylistic elements reminiscent of Debussy, even distant echoes of Brahms.

As a soloist Barbara Buntrock appeared with many German and Swiss orchestra. As an artistic director, she oversaw the foundation in 2011 of “Festival 3B — Chamber Music in the Wuppertal Immanuelskirche”, named after the three great B's of Bach, Beethoven and Brahms and dedicated to the chamber repertoire of all musical eras. Barbara Buntrock has been on the staff of the College of Music in Lübeck since 2011 as lecturer in viola and orchestral studies.

Artist(s)

Barbara Buntrock

Barbara Buntrock took her first violin lessons at the age of five; it was only just before entering university-level studies that she discovered her love for the viola, its deeper tones and timbres. She studied at several music universities: in Cologne with Werner Dickel, in Lübeck with Barbara Westphal, at the Juilliard School in New York City with Heidi Castleman, and in Berlin with Tabea Zimmermann and Lars Anders Tomter. From February 2009 to December 2010, Barbara Buntrock was Principal Violist of the Leipzig Gewandhaus Orchestra but decided to devote herself instead to solo appearances and chamber music. In 2015, she was appointed Viola Professor at the Robert Schumann University of Music in Düsseldorf. Buntrock plays a viola made by Antonio Mariani in Pesaro, ca. 1650, an instrument...

Barbara Buntrock took her first violin lessons at the age of five; it was only just before entering university-level studies that she discovered her love for the viola, its deeper tones and timbres.
She studied at several music universities: in Cologne with Werner Dickel, in Lübeck with Barbara Westphal, at the Juilliard School in New York City with Heidi Castleman, and in Berlin with Tabea Zimmermann and Lars Anders Tomter.
From February 2009 to December 2010, Barbara Buntrock was Principal Violist of the Leipzig Gewandhaus Orchestra but decided to devote herself instead to solo appearances and chamber music.
In 2015, she was appointed Viola Professor at the Robert Schumann University of Music in Düsseldorf.
Buntrock plays a viola made by Antonio Mariani in Pesaro, ca. 1650, an instrument that previously belonged to legendary violist Lionel Tertis.
Her most recent recordings on CD include Walter Braunfels’s Scottish Fantasia (on the Capriccio label) and the viola concertos of Christian Westerhoff (cpo). In contrast to her musical activities, her two children have been the leading voice in Barbara Buntrock‘s life since 2021.

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Daniel Heide

Born in Weimar, pianist Daniel Heide is one of the most sought-after vocal accompanists and chamber musicians of his generation. He performs in recital series and festivals all over Europe as well as in Asia: for instance, in the Konzerthäuser in Vienna, Berlin and Dortmund, the London Wigmore Hall, the Schubertiade in Schwarzenberg and Hohenems (Austria), the Heidelberg Spring Festival, and the Oxford Lieder Festival.
In addition to his ongoing collaboration with vocalists including Andrè Schuen, Christoph Prégardien, Simone Kermes, Ingeborg Danz, Britta Schwarz, Roman Trekel, and Tobias Berndt, he has also accompanied lieder recitals with renowned singers such as Regula Mühlemann, Fatma Said, Benjamin Appl, Sheva Tehoval, Dietrich Henschel, Dorottya Lang, Patrick Grahl, Katharina Konradi, Hanno Müller-Brachmann, Luca Pisaroni, Konstantin Krimmel and Johannes Weisser.
He also loves sharing the stage with actors and narrators including Christian Brückner, Udo Samel, Thomas Thieme, and Hanns Zischler in the genre of melodrama. Daniel Heide had a close collaboration with the late German-Greek mezzo-soprano Stella Doufexis. Their CD Poèmes with songs by Claude Debussy was awarded the German Record Critics’ Prize. As a chamber music partner in duo sonata recitals he has concertized with outstanding soloists including Sabine Meyer, Tabea Zimmermann, Antje Weithaas, Wolfgang Emanuel Schmidt, Jens Peter Maintz, and Danjulo Ishizaka.
Daniel Heide is the founder and artistic director of the vocal recital series Der lyrische Salon. Held in Ettersburg Castle near Weimar, the series has existed since 2011 and is one of the few – anywhere in the world – that is devoted exclusively to artsong. In that context he has collaborated with a great number of celebrated soloists of the lied genre in roughly 100 recitals.
On CAvi-music he recorded with baritone Andrè Schuen songs by Robert Schumann, Hugo Wolf, Frank Martin and a Schubert album Wanderer; with Roman Trekel most famous Loewe Ballades, with Stella Doufexis Hamlet Echoes, with Konstantin Krimmel Liszt Songs and the album Liebe with the soprano Katharina Konradi, and released three solo albums with Beethoven sonatas.

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Composer(s)

Ernest Bloch

Bloch was born in Geneva to Jewish parents and began playing the violin at age 9. He began composing soon after. He studied music at the conservatory in Brussels, where his teachers included the celebrated Belgian violinist Eugène Ysaÿe. He then travelled around Europe, moving to Germany (where he studied composition from 1900–1901 with Iwan Knorr at the Hoch Conservatory in Frankfurt), on to Paris in 1903 and back to Geneva before settling in the United States in 1916, taking American citizenship in 1924. He held several teaching appointments in the U.S., with George Antheil, Frederick Jacobi, Quincy Porter, Bernard Rogers, and Roger Sessions among his pupils. See: List of music students by teacher: A to B#Ernest Bloch. In 1917 Bloch became the first teacher of composition at Mannes College The New School for Music, a post he held for three years. In December 1920 he was appointed the first Musical Director of the newly formed Cleveland Institute of Music, a post he held until 1925. Following this he was director of the San Francisco Conservatory of Musicuntil 1930.
In 1941, Bloch moved to the small coastal community of Agate Beach, Oregon and lived there the rest of his life. He taught and lectured at the University of California, Berkeley until 1952. He died in 1959 in Portland, Oregon, of cancer at the age of 78. His body was cremated and his ashes were scattered near his home in Agate Beach.
The Bloch Memorial has been moved from near his house in Agate Beach to a more prominent location at the Newport Performing Arts Center in Newport, Oregon.

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Paul Hindemith

Paul Hindemith studied violin at the Dr Hoch's Konservatorium of Frankfurt and played from 1915 to 1923 in the Frankfurt opera. From 1921 to 1929 he played viola in the Amar Quarter, where he was advocate for contemporary music. Throughout the years, he held multiple positions as teachers, but he remained most popular as a violist. During the Second Worldwar he fleed to the USA and was given the American nationality in 1948, Later, he returned to Europe to teach at the university of Zürich.
His use rhythm, called "Motorik" by himself (a combination of Motor and Musik) is piercing, and at times even tormenting. It echoes the arrival of industralisation and the motor, as Hindemith opposes any form of sentimentality, psychology or personality. This way, Hinemith created shrill, neoclassicistic music (Gebrauchsmusik, music with a social or political aim). His body of works is quite extensive, with more than 100 compositions in all kinds of genres. Even though he was an advocate of contemporary music, he never felt affiliated with dodecaphony. He wrote several theoretic treatises, among which his Unterweisung im Tonsatz from 1937 in which Hindemith offers several systems in which the tension between intervals, harmony and melody is analysed and elevated into a compositional technique.

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