Her fervent, committed, technically dazzling interpretation never has appeared on CD, and it deserves reissue. One features pianist Nella Maissa in a 1958 Portuguese broadcast (and you can read my rave review by typing Q2743 in Search Reviews) the other is a 1965 Philips recording by Estonian pianist Kabi Laretei, who coached the work with Hindemith. It’s probably a toss-up between the Berezovsky and McCabe Ludus Tonalis/Suite “1922” couplings, but for me, two historic versions eclipse all modern competition (I say this without having heard Joyce Hatto’s traversal on Concert Artist). Comprises prelude, 12 fugues with 11 interludes, and postlude (inverted version of prelude). Ludus Tonalis ('Play of Tones', 'Tonal Game', or 'Tonal Primary School' after the Latin Ludus Litterarius ), subtitled Kontrapunktische, tonale, und Klaviertechnische bungen ( Counterpoint, tonal and technical studies for the piano ), is a piano work by Paul Hindemith that was composed in 1942 during his stay in the United States. studies in counterpoint, tonal organization, and pf. My only half-quibble concerns the pianist’s rather typewriterish flattening out of the Ragtime finale’s syncopations that John McCabe treats more idiomatically. Ludus Tonalis views 2,791,205 updated Ludus Tonalis (The Play of Notes). The rhythms of 1920s jazz and gray, gnarly Teutonic dissonances collide in the Suite “1922”, which Berezovsky’s fingers relish with glee.
Ludus tonalis plus#
At times, though, I’d like to hear more energy, incisive articulation, and rhythmic swagger (the march movements for instance), plus more abandon and fantasy in the Praeludium and Postludium that bookend the piece. In Interludium nine Berezovsky’s dulcet left-hand chords provide gorgeous support for the curvaceous espressivo right-hand melody lines. 6) that are measured enough to communicate contemplative, lyrical repose yet never drag their feet. He chooses tempos for the slower, more transparent fugues (like No. His world-class virtuosity particularly shines in the fourth and eighth Interludiums, where the rapid legato figurations elegantly and evenly fly. From a technical standpoint, Boris Berezovsky cannot be faulted, and he avoids the willful exaggerations of Ollie Mustonen’s controversial though admittedly exciting Decca recording (long out of print). Ideally, the performer should elevate the fugues beyond their seemingly doctrinaire surface and characterize the interludes with as much variety as they deserve, without violating the text.
Great recordings are even fewer and farther between. New recordings of Hindemith’s 1942 contrapuntal keyboard tour-de-force Ludus Tonalis are few and far between, and they tend not to stay in print.
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