Hindemith - Konzertmusik for Piano, Brass, and Harp Op. 49 [score]

Summit Brass
"Hindemith: Complete Brass Works"
Summit Records
January 1, 1900

https://www.summitrecords.com/release/hindemith-complete-brass-works-summit-brass-2/

The Konzertmusik for Piano, Brass, and Harps, Op. 49 is one of the “hidden gems” of Hindemith’s repertoire. It was written in 1930, just before his Konzertmusik for String Orchestra and Brass, Op. 50, and precedes most of his popular orchestral works, such as the Symphonic Metamorphosis of Themes by Carl Maria von Weber or his Symphony in B-flat. The Op. 49 is a four-movement work that focuses primarily on the piano soloist and ten-part brass ensemble with the two harps playing a crucial supporting role. The work begins with a solemn solo in the tuba part accompanied by a horn choir, and is soon followed by the piano soloist with gentle ornaments surrounding the original theme. This first movement is lugubrious and heavy, reminiscent of a funeral procession interspersed by happy memories of the deceased, but never losing its dark and chaotic character. It closes with a reprise of the opening solo before quickly departing this idea for an invigorating and excited pianist opening the second movement. After a substantial development in the piano and raucous interjections from the brass, a gentler middle section has the brass instruments quietly accompanying rapid lines in the solo piano. Soon after, we enter a fugue-like revisit to our original theme with the brass sections handing off the melody between each other. The third movement is only piano and the two harps, returning to a calmer mood, yet sustaining the harmonic intensity. After a lengthy reprieve from the chaos of the previous movement, the pianists and harpists slowly fade into the distance. At the beginning of the third movement, the brass introduces the new rhythmic motif stately by itself, and is then followed by the entrance of the piano and harps again. Towards the middle, the harps overlay these running lines with a beautiful melody that, combined with the chaotic-ness of the piano, gives memory to a hazy dream of a shepherd in fields. As the end approaches, the piano is again joined by the harps in a gentle theme accompanied by the solo tuba. The pianist plays one final winding line to descend towards the final chord played by the brass section, closing on a beautiful C-major chord.

https://www.theorchestranow.org/paul-hindemiths-concert-music-for-piano-brass-and-harps/
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