![]() The second movement is a mournful monologue. Kashkashian ends with a dramatic flourish, as if to punctuate the ineffability of belonging. And in this fashion it proceeds, drawing from its ligaments, veins, and arteries a broader musical circulation that extends one’s sense of self beyond the instrumental and into the metaphysical. As evocative as the music is, it is difficult to picture anything while listening to it, existing as it does in a sound world fashioned from the innards of its own body. ![]() Kashkashian negotiates these with such conviction, they sound spontaneously composed. The first movement is a virtuosic leap through microtonal harmonies and energetic flights of fancy. Every chapter tells us something new, until the linguistic possibilities of the music represented in this eclectic set are exhausted. It is, rather, an utterly dynamic and rich musical object, and the ways in which Hindemith unravels its subtler intonations in these sonatas is nothing short of monumental. The viola doesn’t simply exist somewhere between violin and cello, forever doomed to be second rate to both. Kim Kashkashian’s technique and passion are almost palpable and one can only marvel at the humble respect she brings to both. ![]() Simply overflowing with musical brilliance, it remains one of the finest examples of what the viola is capable of. If ever a recording could put Wagner’s infamous statement to rest, this would be it. “The viola is commonly (with rare exceptions indeed) played by infirm violinists, or by decrepit players of wind instruments who happen to have been acquainted with a stringed instrument once upon a time.” Sonatas for viola and piano recorded 1986, Feste Burg Kirche, Frankfurt, Germany ![]() Solo sonatas recorded 1985-86, Kirche Seon, Switzerland and Karlshöhe, Ludwigsburg, Germany ![]()
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