Phantasie

The viola was Hindemith's instrument (though he could play almost any), and he wrote some of his most expressive chamber music for it. This two-disc set includes all four of Hindemith's sonatas for solo violin and the three for viola and piano. I prefer the wildness of Hindemith's earlier music to the sometimes arid calm of his later music, so listeners like myself who like Hindemith can have a feast here as most of these are early works. They are played with energy and passion by an outstanding violist and a fine pianist.

The German organist and choral conductor, Gerhard Weinberger, studied organ with Franz Lehrndorfer and church music at the Musikhochschule in Munich. In 1971, he was the prize winner in organ at the renowned international ARD Music Competition.
In 1974, after spending three years directing the choir at Saint Lorenz Basilica in Kempten, Gerhard Weinberger assumed a teaching post in organ and church music at the Munich Musikhochschule. He was Professor of Organ there from 1977 to 1983. Currently he is Professor of Organ and Director of the Church Music Department at the Hochschule für Musik in Detmold, Germany. He is a member of the European Academy of Sciences and Arts, and of the Leipzig New Bach Society directorate.
Gerhard Weinberger's wide repertoire ranges from pre-Baroque to music of the 20th century, with a special emphasis on the works of J.S. Bach and Max Reger. He has given recitals throughout Europe, Asia and America.
Gerhard Weinberger has released close to fifty recordings, including the complete organ works of J.S. Bach on twenty-one compact discs. He has published the first complete edition of the organ works of Johann Ludwig Krebs and the organ works of Robert Schumann.

Lieder ohne Worte – Songs without Words – seems to be a description invented by Mendelssohn himself for these short, lyrical and descriptive piano pieces which he composed so prolifically. Indeed, it is arguable that these works define his pianistic output in the same way that the Mazurka defines Chopin’s. Publishing them in sets of six, Mendelssohn composed Lieder ohne Worte throughout his career – they proved a type of composition to which he had a lifetime attraction. For the first volume, rather than approaching them chronologically or as complete sets, Peter Donohoe selected pieces to build a satisfying programme.