In March 1920 Hindemith offered Strecker some ‘foxtrots, Bostons, ragtimes, and other junk of that kind. His composing now continued apace, and in 1919 he wrote to the music publishers Schott and struck a deal with the company which lasted for the rest of his life, even if, at first, Willy Strecker (the son of the head of the firm), on seeing the music Hindemith wrote after his Second String Quartet (Op 10, 1918)-the work that commended him to the company-baulked at some of these compositions, fearing their commercial failure. His father had been killed in action in Flanders in 1915.Īfter the war, Hindemith returned to lead the Frankfurt Opera Orchestra, but the artistic climate was subtly changing. They were from old, patrician families and the young corporal spent much time in organizing chamber music concerts for his superior officers, for which he was thankful. Whereas other musicians and composers fought at the front, and some were wounded or killed, Hindemith was fortunate in his commanding officers. His ability as a violinist ensured he had plenty of work, but in 1917 he was called up for military service. Hindemith’s earliest works exhibit little of the total originality that marked them out from about 1922 onwards-chamber music featured much among them, for he played in various ensembles, largely for pleasure, not for profit. He was also a fine pianist and mastered several other instruments. By the age of twenty, and a member of the Frankfurt Opera Orchestra, he had played Bach’s Chaconne and the Beethoven Violin Concerto in public and had begun to compose. Paul Hindemith’s gifts were wholly exceptional. Born in 1895 near Frankfurt, the son of a house-painter, Hindemith’s early life was dominated by his strongly independent father who-himself musical-encouraged his naturally musical children (Paul, Rudolf and their sister Toni). They had first met in the early 1920s when Hindemith was leader of the Frankfurt Opera Orchestra and Furtwängler was the conductor of that city’s Museum Concerts, prior to his appointment in 1922 as chief conductor of the Berlin Philharmonic Orchestra in succession to Arthur Nikisch.ġ922 was also a significant year for Hindemith. Both of these great German musicians were in exile as a result of their opposition to the Third Reich.
At that time, Hindemith was living in America, Furtwängler in Switzerland. Allthough most Wikipedia articles provide accurate information accuracy can not be guaranteed.'Hindemith’s success lies in his being a power for order.’ Thus Wilhelm Furtwängler, writing in his Notebooks for 1945. ^ a b Liner Notes by Marc Vignal to "Hindemith, 2nd Sonata & Ludus Tonalis" played by Sviatoslav Richter - Pyramid Records, Inc.In this system, the major–minor duality is meaningless and the practice of modulation is dropped. The affinity of each note with the keynote is directly related to its position on the harmonic scale. Ludus Tonalis can be thought of as the most direct application of Hindemith's theory that the twelve tones of the equally tempered scale all relate to a single one of them (called a tonic or keynote). Unlike Bach's piece, though, the non-fugal pieces in Ludus Tonalis frequently repeat the work's main theme, which makes listening to the work as a whole slightly less daunting to the novice. Ludus Tonalis was intended to be the twentieth-century equivalent to Bach's Well-Tempered Clavier. The tonalities of the fugues follow the order of his Serie 1 and use the keynote C (see The Craft of Musical Composition). In between, there are twelve three-part fugues separated by eleven interludes, beginning in the tonality of the previous fugue and ending in the tonality of the next fugue (or in different tonality which is very close to that). The piece starts with a three-part Praeludium in C resembling Bach's toccatas, and ends with a Postludium which is an exact retrograde inversion of the Praeludium. Ludus Tonalis ("Play of Tones" or "Tonal Game"), subtitled Kontrapunktische, tonal, und Klaviertechnische Übungen ( counterpoint, tonal and technical studies for the piano), is a piano work by Paul Hindemith that was composed in 1942 during his stay in the United States.
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