Dating from the early 1920s, Hindemith’s Op. 19 Tanzstücke decorates popular and jazz-influenced dance forms of the day in dour dissonances. However, occasional winks and nods peep through, like in the Pantomime’s unpredictable yet well-timed silences. A greater variety of moods and lighter, more transparent keyboard textures characterize In einer nacht Op. 15, a suite of 14 miniatures. Christian Seibert’s interpretations achieve reference status by virtue of the pianist’s poised, rhythmically centered virtuosity and sensitive touch, along with CPO’s bright, clean engineering.
Seibert faces stronger recorded competition in the Third Sonata, yet he acquits himself well. His meticulous articulation in the lyrical first movement brings out the woodwind-like qualities of Hindemith’s chord writing. Listeners familiar with Glenn Gould’s blazing, rapid-transit account of the second movement might find Seibert overly deliberate and square, yet his thoughtful, well orchestrated voice-leading generates and sustains forward momentum. The same goes for the conventionally paced fugal finale, distinguished by Seibert’s variety of articulation and strategic deployment of the una corda pedal. In sum, a strong addition to the Hindemith piano music discography.
