Viertel

Never one to relegate particular instruments to merely supporting roles, Hindemith composed his String Trio No. 1 (1924) with an eye (and ear) toward complete equality among the parts. The Trio is written in an almost constantly contrapuntal texture that makes much use of canon and fugue techniques; virtually the only instances where a homophonic texture is evident are those that mark important structural divisions of the movements. Though much of the music has an atonal feel, Hindemith provides a sense of direction by establishing tonal centers as points of momentary resolution. Typical of Hindemith's music of the early 1920s, the Trio is marked by a bracing, energetic spirit. The String Trio No. 2 strongly contrasts with its predecessor, the String Trio No. 1 (1924), which is marked by a strong feeling of atonality. When Hindemith wrote the present work nearly a decade later, his style had evolved somewhat. The Trio No. 2 is built on standard Classical forms but incorporates Hindemith's personal sense of tonality, in which any note or chord may be related to a given tonal center; the music has a refreshing, non-Romantic sound.

Celebrating the 60th anniversary of Glenn Gould’s legendary Goldberg Variations.
Glenn Gould Remastered – The Complete Album Collection refurbishes Gould’s complete approved studio recordings using state-of-the-art Direct Stream Digital (DSD) transfer and 24 bit/96 kHz mastering technology in a 81 CDs limited edition. The 416 page book includes complete original liner notes (many penned by Gould himself), a wealth of facsimile documents, rare photographs, full discographical information, and a newly commissioned introductory essay by Gould scholar and biographer Kevin Bazzana.

Celebrating the 60th anniversary of Glenn Gould’s legendary Goldberg Variations.
Glenn Gould Remastered – The Complete Album Collection refurbishes Gould’s complete approved studio recordings using state-of-the-art Direct Stream Digital (DSD) transfer and 24 bit/96 kHz mastering technology in a 81 CDs limited edition. The 416 page book includes complete original liner notes (many penned by Gould himself), a wealth of facsimile documents, rare photographs, full discographical information, and a newly commissioned introductory essay by Gould scholar and biographer Kevin Bazzana.