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Between 1921 and 1927, while the majority of Germany's composers were writing German nationalistic music, Paul Hindemith was exploring the wind medium. The result was his Kammermusik. Kammermusik is comprised of eight separate works divided up into three opus numbers. Six of these eight works are not what is normally considered chamber music, i.e. small ensembles such as a wind quintet with well balanced parts, rather than a concerto for soloist and chamber orchestra, which is the format for Kammermusik Nos. 2-7[1].[2]

Historical Context

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As Hindemith was writing his Kammermusik, Germany was recovering from World War I. Many Germans were shocked by the armistice and there was one particular German soldier who blamed it on Germany's lack of cultural unity. This soldier was Adolf Hitler.[3] Over the course of Hitler's rise to political power, he repeatedly brought this up, with a large emphasis on Richard Wagner, a composer whom Hitler believed to be a true German, therefore representative of true German culture.[3] Paul Hindemith, however, was not among the composers writing for the cause of German cultural unification.

Hindemith's works were largely exploratory of the wind music medium.[4] Throughout his Kammermusik, he repeatedly used wind instruments. He utilizes wind instruments in both works from Op. 24, with Kleine Kammermusik, Op. 24, No. 2 being exclusively a wind quintet for flute, oboe, clarinet, horn and bassoon.[5] This same work in fact was not centered around the German culture at all, as it was Hindemith experimenting with jazz and looking towards his colleague and friend Igor Stravinsky[6] (who coincidentally also looked towards jazz with his composition of Three Pieces for Solo Clarinet [1918]). The third movement of Three Pieces for Solo Clarinet was Stravinsky experimenting with jazz based on a letter he received from an American composer describing jazz. In Hindemith's Kleine Kammermusik, Op. 24 No. 2, he alludes to Stravinsky by utilizing repeated patterns, which Stravinsky does quite often (notably in his Three Pieces for Solo Clarinet, the third movement is very repetitive in a groove-like rhythm). Hindemith references jazz in this work in the movements entitled "Shimmy" and "Ragtime".[4] The exploration of jazz by both Stravinsky and Hindemith reflect Ravel's practice in referencing Basque dance music. Kleine Kammermusik Op. 24 Nr. 2, much like the other seven works, did not reflect the Germanic musical traditions in which Richard Wagner put into place in the previous century. This work in particular would go on to become a staple in the wind quintet literature.

Nomenclature

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Paul Hindemith's Op. 24 is comprised of two works. The first, being Kammermusik Op. 24, No. 1, composed for a 13 piece orchestra including flute, clarinet, bassoon, trumpet, percussion, harmonium (which was was changed to accordion in 1952 by Hindemith[5]), piano, two violins, viola, cello and double bass. The second, Kleine Kammermusik, Op. 24 No. 2 for Wind Quintet. Both works were premiered in 1922.[4]

Like Op. 24, Hindemith's Op. 36 is also comprised of multiple works, these being Kammermusik No. 2-5. These would be named in order of Kammermusik, the number it is within the set, the opus number, and then the number it is within the opus number. For example, Kammermusik No. 3, Op. 36, No. 2, would be the third in the overall set, is included within Op. 36, and is the second piece within Op. 36. All eight works with the exception of Kleine Kammermusik, Op. 24, No. 2 follow this format.

The Works

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Kammermusik No. 1, Op. 24, No. 1 (1922) for flute, clarinet, bassoon, trumpet, accordion, piano, string quintet and percussion

  1. Sehr schnell und wild
  2. Mäßig schnell Halbe
  3. Quartett: Sehr langsam und mit Ausdruck
  4. Finale 1921: Lebhaft

Dedication: "Dedicated to His Highness the Prince of Fürstenberg"[7]

Premiered on July 31, 1922 in Donauschingen at the Second Donaueschingen Chamber Music Festival and conducted by Hermann Scherchen.[7]

Kleine Kammermusik
Performed by the Soni Ventorum Wind Quintet
Problems playing this file? See media help.

Kleine Kammermusik, Op. 24, No. 2 (1922) for wind quintet[8]

  1. Lustig. Mäßig schnell Viertel
  2. Walzer: Durchweg sehr leise
  3. Ruhig und einfach
  4. Schnelle Viertel
  5. Sehr lebhaft

Dedication: "For the Frankfurt Wind Chamber Music Association" [9]

Premiered on June 13, 1922 in Cologne at the second Rhenish Chamber Music Festival by the Wind Chamber Music Association Frankfurt / Main.[9]

Kammermusik No. 2, Op. 36, No. 1 (1924), 'Piano Concerto', for piano and 12 instruments

  1. Sehr lebhafte Achtel
  2. Sehr langsame Achtel
  3. Kleines Potpourri: Sehr lebhafte Viertel
  4. Finale: Schnelle Viertel

Dedication: "For Emma Lübbecke-Job"[10]

Premiered on October 31, 1924 at Frankfurt / Main by the "Frankfurter Museumorchester," conducted by Clemens Krauss. Emma Lübbecke-Job, the dedicatee, also premiered this piece.[10]

Kammermusik No. 3, Op. 36, No. 2 (1925), 'Cello Concerto', for cello and 10 instruments

  1. Majestätisch und stark. Mäßig schnelle Achtel
  2. Lebhaft und lustig
  3. Sehr ruhige und gemessen schreitende Viertel
  4. Mäßig bewegte Halbe. Munter, aber immer gemächlich

Dedication: "For Elsa and Willi Hof"[11]

Premiered on April 30, 1925 in Bochum by the Solosists of the Bochum Municipal Orchestra, conducted by Paul Hindemith and performed by Rudolf Hindemith (violincello).[11]

Kammermusik No. 4, Op. 36, No. 3 (1925), 'Violin Concerto'

  1. Signal: Breite, majestätische Halbe
  2. Sehr lebhaft
  3. Nachtstück: Mäßig schnelle Achtel
  4. Lebhafte Viertel
  5. So schnell wie möglich

Dedication: "Yashnykneshpeff for a beloved lion's birthday"[12]

Premiered on September 17, 1925 in Dessau for the opening concert of the "series concerts" of the Friedrich-Theater". Conducted by Franz von Hoesslin and played by violinist Licco Amar.[12]

Kammermusik No. 5, Op. 36, No. 4 (1925), 'Viola Concerto', for viola and chamber orchestra

  1. Schnelle Halbe
  2. Langsam
  3. Mäßig schnell
  4. Variante eines Militärmarsches

Dedication: Dedicated to Professor Arnold Mendelssohn"[13]

Premiered on November 3, 1927 in Krolloper Berlin Staatskapelle. Condcuted by Otto Klemperer and played by violist (and composer) Paul Hindemith.[13]

Kammermusik No. 6, Op. 46, No. 1 (1927), 'Concerto for viola d'amore and chamber orchestra'

  1. Mäßig schnell, majestätisch
  2. Langsam
  3. Variationen
  4. Lebhaft, wie früher

There is no dedication for this piece.[14]

Premiered on March 29, 1928 in Cologne by the Members of the Frankfurt Municipal Orcehstra. Condcuted by Ludwig Rottenberg and Viola d'amore played by Paul Hindemith.[14]

Kammermusik No. 7, Op. 46, No. 2 (1927), 'Concerto for organ and chamber orchestra'

  1. Nicht zu schnell
  2. Sehr langsam und ganz ruhig
  3. [Achtel bis 184]

Dedication: "Dedicated to the Frankfurt station"[15]

This piece was premiered on August 1, 1928 in Frankfurt / Main. Conducted by Ludwig Rottenberg and Organ played by Reinhold Merten.[15]

References

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  1. ^ MacDonald, Calum, liner notes to complete Kammermusik recording by the Royal Concertgebouw Orchestra under Riccardo Chailly, 2-CD set, Decca 433816-2 (1992).
  2. ^ Bashford, Christina (20 January 2001). "Chamber music (Fr. musique de chambre; Ger. Kammermusik; It. musica da camera)". Grove Music Online. Retrieved 9 April 2021.{{cite web}}: CS1 maint: url-status (link)
  3. ^ a b   Ian Hall, David. “Wagner, Hitler, and Germany’s Rebirth after the First World War.” War in History, vol. 24, no. 2, Apr. 2017, pp. 154–175, doi:10.1177/0968344515608664.
  4. ^ a b c "Kleine Kammermusik, for wind quintet, Op. 24, No. 2 (Paul Hindemith)". LA Phil. Retrieved 2021-04-09.
  5. ^ a b "Kammermusik No.1, Op.24 No.1 (Hindemith, Paul) - IMSLP: Free Sheet Music PDF Download". imslp.org. Retrieved 2021-04-09.
  6. ^ Fondation Hindemith. "1918-1927: Life In Berlin". hindemith.info.{{cite web}}: CS1 maint: url-status (link)
  7. ^ a b "Kammermusik Op. 24, No. 1". Foundation Hindemith. Retrieved 27 April 2021.{{cite web}}: CS1 maint: url-status (link)
  8. ^ "Kleine Kammermusik, for wind quintet, Op. 24, No. 2 (Paul Hindemith)". LA Phil. Retrieved 2021-04-07.
  9. ^ a b "Kleine Kammermusik, Op. 24, No. 2". Hindemith Foundation. Retrieved 27 April 2021.{{cite web}}: CS1 maint: url-status (link)
  10. ^ a b "Kammermusik No. 2, Op. 36, No. 1". Hindemith Foundation. Retrieved 27 April 2021.{{cite web}}: CS1 maint: url-status (link)
  11. ^ a b "Kammermusik No. 3, Op. 36, No. 2". Hindemith Foundation. Retrieved 27 April 2021.{{cite web}}: CS1 maint: url-status (link)
  12. ^ a b "Kammermusik No. 4, Op. 36 No. 3". Hindemith Foundation. Retrieved 27 April 2021.{{cite web}}: CS1 maint: url-status (link)
  13. ^ a b "Kammermusik No. 5, Op. 36, No. 4". Hindemith Foundation. Retrieved 27 April 2021.{{cite web}}: CS1 maint: url-status (link)
  14. ^ a b "Kammermusik No. 6, Op. 46, No. 1, first version". Hindemith Foundation. Retrieved 27 April 2021.{{cite web}}: CS1 maint: url-status (link)
  15. ^ a b "Kammermusik No. 7, Op. 46, No. 2". Retrieved 27 April 2021.{{cite web}}: CS1 maint: url-status (link)

Further reading

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  • Haack, Helmut. 1977. "Die Doppelbedeutung des Terminus Kammermusik bei Hindemith". In Colloquium Musica cameralis Brno 1971, edited by Rudolf Pečman, 231–237. Colloquia on the History and Theory of Music at the International Music Festival in Brno, No. 6. Brno: Mezinárodní Hudební Festival.
  • Heidenreich, Achim. 1999. "Zur Entstehung von Paul Hindemiths Kammermusiken Nr. 1–7". In Paul Hindemith: Komponist zwischen Tradition und Avantgarde—10 Studien edited by Norbert Bolin, 64–72. Kölner Schriften zur neuen Musik 7. Mainz: Schott Musik International. ISBN 3-7957-1896-1.
  • Kohlhase, Hans. 1983. "Aussermusikalische Tendenzen im Frühschaffen Paul Hindemiths: Versuch über die Kammermusik Nr. 1 mit Finale 1921". Hamburger Jahrbuch für Musikwissenschaft 6:183–223.
  • Motte, Diether de la. 1977. "Paul Hindemith neu gehört". Hindemith-Jahrbuch/Annales Hindemith 6.
  • Rexroth, Dieter. 1977. "Zu den 'Kammermusiken' von Paul Hindemith". Hindemith-Jahrbuch/Annales Hindemith 6:47–64.
  • Schaal, Susanne. 1996. "Paul Hindemith: Kammermusik Nr. 5 for Viola and Chamber Orchestra, Op. 36, No. 4, 1927". In Canto d'amore: Classicism in Modern Art and Music, 1914–1935, edited by Ulrich Mosch, Gottfried Boehm, and Katharina Schmidt, 343–345. Basel: Paul Sacher Stiftung. ISBN 9781858940359.
  • Unverricht, Hubert. 1983. Kammermusik im 20. Jahrhundert. Zum Bedeutungswandel des Begriffs. Munich: Minerva.
  • Wolff, Hellmuth Christian. 1977. "Die Kammermusik Paul Hindemiths". In Colloquium Musica cameralis Brno 1971, edited by Rudolf Pečman, 435–446. Colloquia on the History and Theory of Music at the International Music Festival in Brno, No. 6. Brno: Mezinárodní Hudební Festival.
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