: Paul Hindemith: Between Tradition and Progress
: Both as performer and composer, Paul Hindemith was one of the leading
: figuers in the musical life of the 1920s, with an influence extending far
: beyond the German-speaking world. He was an excellent craftsman in every
: sense of the word - not only a famous vertuoso on both violin and viola
^^^^^^^^打錯字,virtuoso.
老實說,我還真不知道他會拉violin,但我知道他是個可怕的中提琴家
(聽說過關於他的中提琴奏鳴曲的事了吧....)
不過這也沒啥大不了的,有太多人拉小提琴兼中提琴的,理論上差不多吧.
: but also proficient on other intruments, in addition to being an
: experienced composer who wrote quickly and prolifically for all manner of
: intrumental groupings and occasions and who was not afraid to turn his hand
: to light music. Whereas foreign writers such as the French lumped Hindemith
: and Arnold Schoenberg together as typical representives of German music,
: there was a tendency in Germany itself to draw a distinction between "New
: Objective" ( a term coined in 1925 to describe paiting but quickly taken
: over into other parts of art) and "functional music" on the other hand and,
: on the other, an uncompromising twelve-note technique, the alleged
: historical necessity of which theorists sought to justify by philosophising
: about progress and the "state of the material". Today's listener is struck
: not so much by the differences as by the similarities between Hindemith,
: Schoenberg and even Igor Stravinsky - similarities that include a pronouced
: predilection for counterpoint and for an often neo-classically coloured
: reversion to older forms and genres. An almost personal characteristic of
: Hindemith's music - especially that of the 1920s - is the continuous,
: almost neo-Baroque kinetic impulse and, in the tonal sphere, the perfect
: balance bwtween dissonance and an ultimately triumphant consonance.
: Kammermusik ( Chamber Music ) Nos. 1 to 7 was the functionally neutral
: title which Hindemith gave to a series of seven works written between
搞木管五重奏的,大約沒有人不演他的kammermusik的吧?
: 1922 and 1927 and involving a markedly virtuoso, concertante style. ( With
: the exception of the first piece, all are solo concertos with
: chamber-orchestra accompaniment.) Older techniques and forms are revived
: and forms are revived here in a variety of interesting ways. These seven
: Kammermusiken were followed, between 1926 and 1930, by four Konzertmusiken
: ( Concert Musics ), which reveal a certain suggestion of ostentation and
^^^^^^^^^^^^^^果然是寫了不只一首.
: simplicity. "It seems", Hindemith noted in 1931, "as if a new interest in
: serious and great music is gradually coming into vogue." Certainly, these
: years seem to have witnessed a general shift away from revolutionary
: innovation towards a more monumental art. Like Stravinsky's Symphony of
: Psalms, Arthur Honegger's First Symphony and a number of other works,
: Hindemith's Concert Music for String Orchestra and Brass (1930) was
: commissioned by Sergei Koussevitzky for the fiftieth anniversary of his
: world-famous Boston Symphony Orchestra, the quality of whose brass section
補充一下,最近市面上(日本啦,台灣我不知道)出了一張BSO的前小號首席的CD
不知papl有買乎?
: was particularly well-known. Hindemith wrote a full-blooded, vertuoso piece
: for twelve brass players (four horns, four trumpets, three trombones and
: bass tuba) and strings, combining and contrasting the differenct groupings
: in the most varied permutations and weightings. Whereas the first movement
: dominated by the brass instruments, the second and fourth (the middle
: movement of Part Two) are characterized by the great melodic arches of the
: string writing. There is an emotionalism here which has absolutely nothing
: in common with "New Objective" but which recalls, rather, the
: expressiveness of composers such as Mahler and Shostakovich. The fourth
: movement if framed by fugato passages of violent kenetic energy, with those
: rapid "motoric rhythms" that are so typical of the composer, while a
: jazz-like melodic phrase - apparently borrowed from Darius Milhaud's ballet
: La cr'eation du monde ( The Creation of the World ) - adds its cheeky
: contrapuntal voice.
最後終於聽出來了...
否則我的名聲就這樣毀了 :P
: Curiously enough, it was in the context of a stage work that Hindemith
: first tackled the tradition-bound genre of the symphony: the three-movement
: Symphony Mathis der Maler ( Mathis the Painter ) (1933/34) consists
: entirely of sections subsequently taken up into the opera of the same name,
: a work which, not completed until some years later, revolves around the
: painter Matthias Gruenwald. There is a tragic irony to the fact that, from
: the early 1930s onwards, Hindemith's more straight-forward and traditional
: style, dismissed by many critics as reactionary - one thinks particularly
: in this context of their condemnation of the Philharmonisches Konzert
: ( Philharmonic Concert ) of 1932 -, was attacked by the National Socialists
: as "questionable" and "un-German".
: As early as April 1933 Hindemith was informed by his publisher that a
: considerable number of his earlier works had been banned as examples of
: "cultural Bolshevism" ( 文化的布爾什維克主義. 複習一下歷史吧: Bolshevik:
: 1917 年取得政權之蘇俄共產黨之擁護者. ) His works were forbidden to be
: performed and the members of his string trio - his partners were the
: Jewish violinist Szymon Goldberg - could only appear abroad. With his
: opera on the life of Matthias Gruenwald, hindemith began an inner
: emigration, a spiritual process which found its physical counterpart in the
: years between 1938 and 1940, when he emigrated first to Switzerland and
: then to America. during the summer of 1940 Hindemith taught at Tanglewood
: at Koussevitzky's commissions for the Boston Symphony Orchestra. Both the
: 註: 這是另外一個由 Koussevitzky 委託作曲家創作給 Boston SO 精彩作品的例子.
: 這首 Eb 大調交響曲也是十分的精彩, 首樂章可以說是從頭爽到尾,
: 不聽可惜啊. :Q
Tony曰:同意.
: duration of the work and formal design of its four movements (although not
: described as such, the third movement is a regular scherzo with a central
: trio section) reveal an entirely conscious exploitaion of the
: representative symphonic tradition, an indebtedness underlined by the
: Bruckneresque reminiscenes of the "scherzo", the frequent ostinato effects
: and the fugato passages (espacially in the final movement). The only
: exception to this rule is the relatively brief opening movement, whose
: principle theme is developed from the motto-like fanfare that introduces
: the piece. On the whole this is a highly accesible work and, as such, it
: may well be seen as a typical first major work by a German composer living
: in America and conscious of the tradition in which he is writing: of course,
: one can only speculate on this possibility, since Hindemith - equally
: typically - expressed no thoughts on the subject. Ernest K^renek, another
: German composer living in exile in America, noted: "There is no doubt that
: America sharpened the sense of reality of those European composers who came
: here as immigrants. [...]"
: Apart from the Mathis der Maler Symphony and the Symphony in E-flat,
: Hindemith's best-known works are the Stmphony Die Harmonie der Welt (The
: Harmony of the World) of 1951 (another forerunner of a later stage work)
: and Symphonic Metamorphoses on Themes of Carl Maria von Weber. The later
我第一次聽到這曲子是BPO的音樂會.
該場音樂會中只有兩首曲目:蕭士塔高維契第七交響曲及這首.
指揮是海汀克,十分精采.令我印象深刻.
: began life in 1940 as a baller score, which Hindemith planned to write in
: collaboration with Leonid Massin, but it was a concert work which he
: finally produced in the summer of 1943. Its title notwithstanding, the
: Symphonic Metamorphoses are a reworking not only of individual themes fron
: Weber's works but of entire pieces - including three piano duets and the
: prchestra overture to Friedrich Schiller's "Turandot" - which he has
: refasioned and reworked in an altogether witty and subtle manner, thus
: rendering the originals barely recognizable.
這首不用多說了,已經有管樂版的錄音.
大約最容易找的是TKWO的版本.
專輯名稱就叫"交響的變容".
錄的好不好我就不清楚.
得請TKWO專家papl先生說明一下(如果他有買的話)
我手邊有的是伊利諾大學的版本,固是光芒萬丈,非常傑出.
其實亨得密特先生寫過多的器樂曲多的排山倒海
豎笛奏鳴曲,長笛奏鳴曲,法國號奏鳴曲,英國管奏鳴曲....etc
各式各樣的重奏組合也很多.
SONY不是有張顧爾德和一堆銅管演奏者合作的亨得密特音樂乎?
--
美好的聲音總是令我無法抗拒 :Q
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