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1978 Natalie Hinderas Plays Sensuous Piano Music Liszt Berg Vinyl LP Record VG+
Record Grade per Goldmine Standard: VG+
SIDE ONE Sonata, Opus 1 (1908)Alban Berg Adagio in F minor Joseph Boulogne Saint-Georges Etude-Tableaux In E flat minor Sergei Rachmaninoff SIDE TWO Jeux d’eau (1901)Maurice Ravel Danza de la moza donosa (1937) Alberto Ginastera (Dance of the Lovely Malden) Mephisto Waltz no. 1Franz Liszt Why sensuous piano music? In this recording, pianist Natalie Hinderas explores various levels of musical perception and incor- porates the intellectual and emotional Into her concept of the sen- suous. Miss Hinderas’ approach Is to “bathe” the listener In music consisting of highly varied works, Immersing him or her in everything from warm, gentle waters to boiling oil. What makes this music sen- suous Is the direct, colorful and lasting appeal It has to the senses of the perceptive listener. The Sonata, Op. 1 (1908) by the Austrian-born Alban Berg (1885- 1935), for example, Is on one level as lush a piece of post-Wagnerlan chromatic sensuousness as one will find anywhere In Richard Strauss or Mahler. Technically, one can note the work’s rich harmonic language, veering on the atonal writing of Berg’s composition teacher, Arnold Schoenberg; the almost strict sonata-allegro struc- ture of the one movement; even the piano writing, experienced- sounding Indeed for a composer of twenty-three, in his only publish- ed piano piece. More than these, however, one Is struck by the year- ning Intensity of the mood and the fierce tensions set up In the open- ing bar which are not resolved fully until the peacefully diatonic coda Joseph Boulogne Saint-Georges (1739-1799), certainly the least familiar composer represented here, was born on the Caribbean island of Guadeloupe to a French mother and an African father. He became one of the first composers of African ancestry to signifi- cantly Influence European culture, playing the violin, touring and composing throughout the continent. The Adagio recorded here was discovered recently by musicologist Dominique-Rene de Lerma, a specialist In the music of black composers. The restrained sensuous- ness of Gluck, whose operas were admired by Saint-Georges, is reflected in the clear outlines and arched phrases of this lovely move- ment. Unrestrained sensuousness was a forte of the Russian pianist- composer Sergei Rachmaninoff (1873-1943), represented here by his Etude-Tableau In E-flat minor. The two sets of Eudes-Tableaux, published as Opus 33 and Opus 39, are not as well known as Rach- maninoff’s Preludes, yet they contain much of the same melodic ex- pressivity and harmonic lushness. This fifth etude of Opus 39 is a study In endless melody sometimes over, sometimes In the middle of a veritable ocean of resonant chords. The mood projected is restless, aggressive and somehow noble, especially in the long-breathed, quiet close. The bathing Image suggested above is appropriate indeed for Jeux d’eau (Fountains) of Maurice Ravel (1875-1937), the French com- poser who, along with his compatriot Claude Debussy, is commonly termed a musical Impressionist. This relatively early piano piece from 1901 is prefaced by a quote from Henri de Regnier, "Dleu fluvial rient de I’eau qul le chatoullle" (the river-god, laughing at the waters which tickle him). "Impression" seems a vague term indeed for this brilliant piece of water description which uses every foaming, rushing, swirl- ing, spraying and splashing sound at the piano's command. The resulting Image Is well-nigh visual; any listener who doesn't feel "misty” by the end has not been paying attention The Argentine composer Alberto Ginastera, born in 1916, makes a brief but exotic contribution to the program with a work written at age nineteen, Danza de la moza donosa from the Danzas Argentines (published as a set In 1937). Over a rocking six-eight meter, the com- poser uses lush seventh chords and parallel harmonies to suggest a dance which Is very languid, if not downright soporific. Miss Hinderas, incidentally, had the good fortune to surprise Ginastera with an Impromptu performance of his early composition. For the boiling oil (or at least a foaming cauldron) we turn to the Mephisto Waltz No. 1 of Franz Liszt (1811-1886) The Faust legend, with Its imagery of sin and redemption, fascinated poets and com- posers throughout the Romantic nineteenth century; it was Nikolaus Lenau’s version of the legend which Inspired this diabolic piano treat- ment. In the Lenau poem, Faust and Mephistopheles enter a village tavern In which a wedding feast Is taking place. Mephistopheles tunes his violin and plays, working the peasants into a frenzy. Meanwhile, Faust finds a beautiful wench and carries her off to the woods to be "swallowed by the roaring fires of lust." Liszt's piece echoes the tun- ing of the devilish violin with a fierce buildup of open fifths which, we are told, scandalized Liszt’s more conservative contemporaries. A furious waltz tune follows, to be followed in turn by an erotically languid slow D-flat section depicting Faust’s adventures out in the woods. The wild waltzing returns, driving the piece and our concert of sensuous piano music to a frenzied and forceful close. Pianist Natalie Hinderas is a frequent performer with major symphonies throughout the country. Recent engagements include return performances with the Philadelphia Orchestra, New York Phil- harmonic, Cleveland Symphony, Atlanta Symphony, Detroit Symphony, as well as successful engagements with the Los Angeles, Florida, Toronto and Chicago symphonies. She is a favorite at festivals including Grant Park, Blossom, Chautauqua, Interlochen, and of course, the Temple University Music Festival. Miss Hinderas was born in Oberlin, Ohio, into a gifted musical family. Her great-grandfather, father and mother all enjoyed success as outstanding musicians. Her mother, Leota Palmer, is a prominent piano teacher at the Cleveland Institute of Music. Miss Hinderas was a child prodigy and offered her first full-length recital at the age of eight. By her twelfth birthday, she had performed the Grieg Concerto with the Cleveland Women's Symphony. Since that time, the pianist has performed with virtually every major symphony in the United States. An artist of international acclaim, Natalie Hinderas has appeared throughout the world in recitals and with orchestras. Her tours include Europe, Asia and Africa. A graduate of the Oberlin Conservatory of Music, she studied with Olga Samaroff at Juilliard School of Music and later with Edward Steuermann at the Philadelphia Conservatory of Music. A winner of many prizes and awards, Miss Hinderas traveled under the Leventritt banner performing with major symphonies in the U.S. and was a recipient of the John Hay Whitney, Julius Rosenwald and Martha Baird Rockefeller Scholarships and fellowships. On two oc- casions, she was selected by the State Department to act as an American Cultural Ambassador. She was also under contract by NBC-TV to perform on national network shows and local affiliates of the network. Recently, she has appeared on NBC's ‘‘Today Show" and WOXR’s Robert Sherman Show. Miss Hinderas is a master teacher, affiliated with Temple Universi- ty, and nationally respected as a leading member of the music world. She has received numerous honors including a doctorate from Swarthmore College and serves on the National Endowment for the Arts music committee. She is known for her "wonderfully infectious spirit," according to the New York Times. The San Francisco Chronicle said of her playing . . . "so charged with the sense of being alive" and the Philadelphia Bulletin said, "Natalie Hinderas has the music in her spirit." This is the first recording for Orion Records by Miss Hinderas, and she is recorded on Columbia and Desto records.



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