Karl Amadeus Hartmann: Concerto funebre für Violine & Streicher auf CD

Karl Amadeus Hartmanns einziges Violinkonzert – für die revidierte Fassung 1959 änderte er den Titel in »Concerto funebre« – ist zugleich auch sein berühmtestes Stück. »Musik der Trauer« – so war das Werk ursprünglich überschrieben, das 1939 im 2. Weltkriegs entstand. Interpretin ist die aufstrebende junge russische Geigerin Alina Ibragimova, die hiermit ihr Hyperion-Debüt vorlegt.

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As is well known, the Third Reich drove many of its gifted composers into exile, to early deaths or to the concentration camps. But a significant responsibility devolved on another group, who became ‘internal exiles’, remaining in Germany, but refusing to become cultural ornaments of the Nazi regime. Karl Amadeus Hartmann (1905–1963), in Bavaria, consistently kept the spirit of modernism and human commitment alive in his own work.

However, the rise of the Nazis gave his music deeper resonances of anger and lamentation. Concerto funebre was composed during the outbreak of World War II. It is an extraordinary work, inspired initially by Hartmann’s feelings about the Nazi annexation of Czechoslovakia, containing conflicting messages of hope, desperation and foreboding at the times ahead. The solo violin line is at once a mournful commentary and a prophetic cry.

This generously filled disc also contains all Hartmann’s works for solo violin. These sonatas and suites are fiercely difficult, conceived on a grand scale, and recall the majesty and breadth of J S Bach’s solo violin works.

Making her recording debut for Hyperion in this disc of important repertoire is the spectacular young Russian violinist Alina Ibragimova (b1985). Alina’s many concert appearances throughout Europe have earned her the highest praise, and, as Richard Morrison wrote in The Times, she is ‘destined to be a force in the classical music firmament for decades to come … you feel that you are getting the music straight from the composer’s quill’.

Rezensionen

'Crisply and incisively argued … Musicianship of the highest order' (International Record Review)

'...Wonderfully assured … the way in which the playing of the Britten Sinfonia dovetails with hers is always compelling. Ibragimova pairs the concerto with the solo violin suites and sonatas … In these wonderfully fluent pieces, it is perfectly married with the contrapuntal ideas that Hartmann clearly derived from Bach's solo violin works; Ibragimova conveys their crispness and clarity to perfection' (The Guardian)

'An auspicious and admirably adventurous recording debut for one of the most exciting of today's young violinists, Alina Ibragimova. With the Britten Sinfonia strings providing incisive support, she steers a committed yet level-headed course through this emotive work, bringing plenty of tonal variety and expressive subtlety to play on Hartmann's deeply felt music. These characteristics also colour her brilliant playing of the solo works, with their echoes of everything from Bach to Bartok' (The Daily Telegraph)

Rezensionen

FonoForum 12/07: "Ihre konzentrierte und ausdrucksstarke Interpretation des "Concerto funebre" überzeugt jedoch auf Anhieb: Sie verfügt über eine imponierende Grifftechnik und ein unerschöpfliches Reservoir an klangfarblichen Nuancen.​"