Strauss drily remarked: "That's just what I thought. Afterwards Strauss asked Hindemith how long he had taken to compose the work he had just performed. The return match took place at a later festival when Strauss attended one of Hindemith's concerts. After Hindemith's new string quartet was enthusiastically received at one festival Strauss asked the composer in his broad Bavarian dialect: "Why do you compose atonal music? You have plenty of talent." Hindemith replied in his equally broad Frankfurt dialect: "Herr Professor, you make your music, and I'll make mine." There was a healthy creative tension between Strauss, the traditionalist, and Hindemith the prolific progressive, and both were fixtures at the Donaueschingen modern music festival in the 1920s. He illustrated the work with colored pencil, among other things drawing a lion for each entry of the subject of the fugues and for each of the twelve a different kind of lion, according to the. The pairing of Strauss and Hindemith on that LP allows me to retell two delicious stories from Geoffrey Skelton's excellent biography of Hindemith (Gollancz ISBN 0575019883 out of print). The Ludus is a graphc example of the composers delight in the fantastic, offered to his wife, born under the sign of Leo, as a birthday present. 3 and a selection of Andrzej Panufnik's music for Unicorn. The sleeve notes remind me that the great conductor Jascha Horenstein also recorded Robert Simpson's Symphony No. The Bob Auger engineered Unicorn LP plays as I write and still sounds magnificent. Focus on these two aspects to carry on the analysis to the 'Ludus Tonalis' will be helpful to a more comprehensive understanding of the music composition in Hindemith's maturity period as well as the neoclassicism he has represented.This paper takes the Prelude and Fugue of the 'Ludus Tonalis' for the study, proceeding with the two-pronged. It was the 1973 Unicorn LP of the symphony shown in my lower photo that made me realise that record covers could be an art form the painting is The Temptation of St Anthony by Max Ernst from 1945, which is also the title of the finale of Hindemith's Symphony. The Ludus Tonalis is built on a controversial theoretical premise which Hindemith identifies as Series I (Craft I 53-56). Mathis der Maler (Mathis the Painter) is based on the life and ideals of the early-sixteenth century artist Matthias Grunewald. His 1934 Symphony Mathis der Maler was drawn from material from his banned opera of the same name. Hindemith was, of course, no stranger to the world of artists. As says if you like The Art of Fugue, or Bach's 48 and Shostakovich's 24 Preludes and Fugues, or Kurtág's Játékok, you should try Hindemith's 'tone games' or Ludus Tonalis. Hindemith's twenty-five 'Studies in counterpoint, tonal organisation and piano playing' were composed in 1942 and their true importance is obscured by an unjustified reputation as dry academic studies. But the sleeve above is from Hyperion's recording of Hindemith's Ludus Tonalis played by John McCabe and the illustration is adapted from a special edition of the work illustrated by the composer. Paul Hindemith is not an obvious candidate for my recent thread on musicians as artists.
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