Boris Blacher, like Karl Amadeus Hartmann, was a key figure in the revival of German music in the years following the end of the Second World War. Unlike Hartmann, Blacher did not disdain the use of the twelve-tone system, and worked in his own way to expand its technical resources through his researches into geometric or "variable" configurations of meter. However "technical" his resources may seem on, Blacher was a composer who was heavily impacted by the influence of Paul Hindemith; his music has a vivid and splendidly ...
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Boris Blacher, like Karl Amadeus Hartmann, was a key figure in the revival of German music in the years following the end of the Second World War. Unlike Hartmann, Blacher did not disdain the use of the twelve-tone system, and worked in his own way to expand its technical resources through his researches into geometric or "variable" configurations of meter. However "technical" his resources may seem on, Blacher was a composer who was heavily impacted by the influence of Paul Hindemith; his music has a vivid and splendidly orchestral quality and always maintains a clear-cut formal design no matter what compositional techniques may be in use. This is one of many reasons why Blacher was in considerable demand as a teacher in postwar Germany.Blacher enjoyed a special relationship with the Louisville Orchestra; first commissioned in 1953 for the intriguing Studie im Pianissimo, Op. 45, heard here under Louisville's legendary director Robert Whitney, and the four works on First Edition's Boris Blacher were...
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