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Order number B 108 029
Violin Sonatas, Rebekka Hartmann
Cover Rebekka Hartmann


Price EUR 15,50

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Rebekka Hartmann is playing

Johann Sebastian Bach
Partita II in d-minor, Bach register #1004

Paul Hindemith
Sonata for Violin solo op. 11/6, 1917/18

Bernd Alois Zimmermann
Sonata for Violin solo (1951)
Recorded at FARAO Studios, 2006

(German, English)
· text
· biographie
Rebekka Hartmann is still an insiders' tip but she has all the prerequisites for a promising career as a soloist with her exceptional virtuosity, profound musicality, personality and charisma. With her Stradivari, Rebekka Hartmann is able to conjure laughter and tears while delving into the inner recesses of emotion and producing a multifaceted and exquisitely shaded musical experience. But the recollection would be incomplete without reference to her fantastic technique.

Rebekka Hartmann plays an Antonio Stradivari (1703) by the German Foundation Musikleben.
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Nobody gets out of here alive -- it's a motto that worked for the Doors and it works here for violinist Rebekka Hartmann in her debut disc on the German Farao label. Opening with Bach's danse macabre Partita in D minor is already bold, but following that with Hindemith's life or death Sonata, Op. 11/6, and especially Zimmermann's heaven or hell Sonata (1951) is downright audacious. But in this 2000 recording, the then-19-year-old violinist carries it all off brilliantly. One never doubts Hartmann's ability to perform this supremely difficult music. All three works are for solo violin, leaving the player no room to hide, but Hartmann shows what she can do with reckless impunity. Her tone is sharp and incisive with plenty of power but plenty of tenderness, too. Her rhythm is never quite what one expects -- she holds back sometimes on downbeats and pushes ahead other times on upbeats. But best of all are Hartmann's interpretations. She spares none of the horror of Bach's Partita, none of the energy of Hindemith's sonata, and none of the anxiety of Zimmermann's sonata, but she also finds consolation in the Bach, continuation in the Hindemith, and conflagration in the Zimmermann. Although it's hard to imagine how Hartmann can follow this disc -- after this, a coupling of Tchaikovsky and Mendelssohn's concertos would seem a bit lightweight -- any listener who hears it will surely want to hear what she does next. Farao's digital sound is ideally balanced between intimacy and objectivity.
www.allmusic.com, James Leonard, 2007

CD Tip
Assuming that out of 1000 gifted musicians from the same birth year only one will have what it takes for a truly great solo career; then, where violinists are concerned, Germany has no complaints. Especially young female violinists are making their mark here. With refreshingly intelligent play and flawless tone, with brilliant virtuosity and an astoundingly profound understanding of musical interpretation, Rebekka Hartmann, born in Munich in 1981, exemplifies this development. Already the winner of numerous national and international prizes, she has recently brought out a remarkable CD on the FARAO classics label featuring a well chosen and sequenced set of pieces by J.S.Bach, P. Hindemith and B.A. Zimmermann for solo violin.
The sequence commences with Bach’s Partita in D-minor the Ciaccona of which seems to rest amidst all the secrets of the heavenly firmament. And almost with the first fluidly inspired measures of the "Allemande" it becomes obvious that here a genuine master virtuoso is at work – her slender yet resilient intonation and phrasing both electrifying and intimate in quality. Rebekka Hartmann’s lucid exposition makes little use of vibrato while comprehending the inexhaustible universal force and humanism of Bach’s music as it relates to the modern spirit.
There is no contradiction between architecture and dance in her interpretation of Hindemith’s Sonata for solo violin (solo op.11, No 6) dating from 1917/18 which follows. How wonderful that this work, long known only in fragmentary form, should be recreated in such a remarkable recording. The same could be said for the concluding solo sonata from Bernd Alois Zimmermann for which Miss Hartmann sets new standards of virtuosity. This work, composed in 1951 is based in all three movements on a binding 12 note sequence. But despite the structures of its architecture and the compression of the compositional material we are dealing with highly expressive music as Miss Hartmann clearly demonstrates across a range stretching from meditative improvisation to rhapsodic declaration to the dynamism of the Toccata and its concluding B-A-C-H citation.
Bayern 4 Klassik, Helmut Rohm, October 19th 2006

(available only in German)

"Diese Kombination besitzt Seltenheitswert: Die Geigerin Rebekka Hartmann, erst 25 Jahre alt und schon eine führende Interpretin auf den vier Saiten, spielte Johann Sebastian Bachs Partita d-Moll BWV 1004, Paul Hindemiths Sonate für Violine solo op. 11 Nr. 6 (1917/18) und Bernd Alois Zimmermanns Solo-Sonate von 1951 ein – Musik der Trauer, des Todes und des Trostes. Die Solistin, Schülerin von Gottfried Schneider, Meisterkurs-Teilnehmerin u.a. bei Wolfgang Marschner und Valery Oistrach, trifft den entsprechenden Ton. Mal melancholisch, mal verstörend, dann wieder aufmunternd oder ermutigend – Musik als Seelenkosmos, verschattet und zugleich erhellend.
Die Geige wird zum Instrument für Lieder ohne Worte: ein instrumentaler Gesang des Schmerzes, des Leidens und der Herzensangelegenheit. Diese Facetten können daher auch tröstend beruhigen. Die Münchnerin setzt die Geige als sensibel ausgehörten Klangkosmos ein. Technische Probleme? Nichts davon zu hören, weder bei Bachs Rasanz noch bei Zimmermanns Unruhe-Stück.
Wie und in welcher Situation entstanden diese drei ausgewählten Kompositionen? Bach schrieb die Partita 1720, kurz nach dem Tod seiner ersten Frau. Vor allem die Chaconne gilt heute für die Musikwissenschaft als musikalisches Tombeau für Maria Barbara Bach – trotz oder gerade wegen des tänzerischen Charakters. Bachs Totentanz – eine heftige, dennoch kontrollierte Lebensäußerung zum unerbittlichen Menschenende. Paul Hindemiths op. 11 Nr. 6, in Kriegszeiten entstanden, zielt auf Bach und dessen tonale Sphäre. Barocke Elemente sind ebenso zu vernehmen wie Atonalität im Finale. Reaktion auf die Toten des Ersten Weltkriegs? Zimmermann schließlich war ein Bach-Bekenner. Das berühmte B-A-C-H baut er als Tonzitat ein – wie von fern weht diese Folge in das zeitgenössische, zeitbezogene Solo hinein: ein Brückenschlag zwischen Vergangenheit und Morgen, zwischen Tod und Hoffnung. Wer denkt, das Ganze sei bei dieser emotionalen Lage erdrückend oder depressiv, der sieht sich angenehm enttäuscht. Die Geige funkelt. Allen dunklen Parametern zum Trotz."
Das Orchester, Jörg Loskill, 03/2007