Early works usually provide information about the origin and first manifestations of a composer's musical personality; Hindemith's works for violoncello and piano written in the years 1917 and 1919/20 are no exception. To be sure the earlier pieces document above all the compositional point of departure - the influences of Reger and Strauss on the texture of the piano writing and harmony are obvious - while the later work already exhibits aspects typical of Hindemith's personal style in the 1920s which caused the composer to be viewed as a notorious musical terror. Julius Berger: violoncello / Siegfried Mauser: piano.
Early works usually provide information about the origin and first manifestations of a composer's musical personality; Hindemith's works for violoncello and piano written in the years 1917 and 1919/20 are no exception. To be sure the earlier pieces document above all the compositional point of departure - the influences of Reger and Strauss on the texture of the piano writing and harmony are obvious - while the later work already exhibits aspects typical of Hindemith's personal style in the 1920s which caused the composer to be viewed as a notorious musical terror. Julius Berger: violoncello / Siegfried Mauser: piano.
