concerto hin

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Description:Paul Hindemith (1895-1963) composed the Klaviermusi (Klavier: lin eHand) mit Orchester, Op. 29 during a time overflowing with musicalactivities, which also brought long-term changes into his life. He hadachieved a spectacular brea through as a composer in 1921 with thepremieres of the one-act operas Mrder, Hoffnung der Frauen, Op. 12 andDas Nusch-Nuschi, Op. 20 in Stuttgart as well as the Third StringQuartet, Op. 16 in Donaueschingen. Wor s such as the one-act operaSancta Susanna, Op. 21, the Kammermusi Nr. 1, Op. 24/1 and the Suite1922, Op. 26 for piano show him to be a radical avant-gardist. He wasnow considered the leading German composer of his generation, areputation that he was able to consolidate over the long term with aplethora of new wor s in nearly all genres, including ballet, film andentertainment music as well as parody pieces. Moreover, Hindemithfounded the Amar Quartet (in which he played the viola) for the premiereof his Third String Quartet. With his ensemble, he was responsible forthe premieres of numerous wor s by composers such as Pfitzner, Webern,Hab, Krene , Jarnach and Weill. In 1922 he was elected to theprogramming committee of the Donaueschingen chamber music performancesand was thus able to exercise a lasting influence on the development ofmusic during those years there as the driving force behind theprogramming. Moreover, the renowned publishing house of Schott in Mainzsettled an exclusive contract for the publication of Hindemith's wor s,

enabling him to leave his position as concertmaster in the Fran furtOpera Orchestra on 23 April 1923 in order to wor as a free-lancecomposer and interpreter.Hindemith's reputation and newly acquired fame were crowned by the firstcomposition commission he received during this time: Paul Wittgenstein's(1887-1961) well remunerated commission for a concertante wor for pianoleft-hand and orchestra. It was not only a well-paid commission butalso, most importantly at this pea time of inflation, in hard currency($). The pianist, Paul Wittgenstein, who came from one of the wealthiestfamilies in Austria and had lost his right arm during the First WorldWar, wished to be provided with a repertoire written especially for himand achieved this with such commissions, which also went to Korngold,Strauss, Franz Schmidt, Britten, Pro ofiev and Ravel. For his part,

Hindemith had come to the fundamental conclusion during these years thata composer should only write wor s "if he nows for what requirements heis writing it. The times of composing for its own sa e are over, perhapsforever." In June and July 1922, Hindemith had embar ed upon thecomposition of the song cycle Das Marienleben to poems of Rainer MariaRil e, but then wrote the ballet Der Dmon, Op. 28 during the autumn ofthat year. He apparently wanted to continue wor ing on Das Marienlebenin November, but it seems that he agreed upon the commission fromWittgenstein and discussed it with him on 5 December 1922, when the AmarQuartet gave a concert in Vienna (documents pertaining to this have notbeen handed down). Hindemith now interrupted the composition of DasMarienleben, first completing the second part (Sehr lebhafte Halbe) ofthe Klaviermusi mit Orchester dated 22 February 1923, then the third

part (Trio, Basso ostinato. Langsame Viertel, nur sehr wenig Ausdruc )on 27 February. The final part (Finale. Bewegte Halbe) followed in April1923. Hindemith announced these three parts to the wor 's commissionerin a letter dated 9 May 1923 with the following words: "Dear HerrWittgenstein, Tomorrow morning the score of the last three parts of yourconcerto will be on their way to you. I still haven't been able to writeout the first part because I have a terrible amount of wor to do - butso that you won't have to wait too long, you will be receiving what isfinished of the piece, about 80% of the whole thing. [...] I would besorry if the piece didn't bring you joy - you might find it a bit


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strange to listen to at first -I wrote it with a great deal of love andli e it very much." And in Hindemith's note accompanying the threeannounced parts when they were sent: "Here are the three final movementsof your piece and I hope that your shoc will subside after perusing thescore. It is a simple, completely unproblematic piece and I am sure thatyou will enjoy it after a time. (Perhaps you are appalled at first, butthat does not matter.) In any case, you will surely understand the piece- in case of any doubt I will always be there to give you preciseinformation." Hindemith only finished the missing first part(Einleitung. Mige schnelle Halbe) on 24 May 1923; he then sent it toWittgenstein.Wittgenstein's reactions to Hindemith's Klaviermusi mit Orchester havenot been handed down. He never performed the wor in public; thereforehe must, apparently, have been rather too appalled at the wor - asHindemith had feared. But since Wittgenstein not only secured theexclusive performing rights for the wor during his lifetime, but alsoclaimed these rights ruthlessly and exhaustively, the wor could neitherbe published nor handed over to another pianist, although itspublication was announced in a 1925 Hindemith wor s catalogue for thatsame year. The wor is, of course, not mentioned in an exchange ofletters between Hindemith and his publishers. Hindemith's wife Gertrudcommunicated tersely with an interested pianist in 1950 as follows: "TheConcerto is the property of Herr Wittgenstein and my husband has nocontrol over it at all." In a list of "Unprinted Pieces for a Possible

Complete Edition" from the mid-1950s, Hindemith does expressly includethe Klaviermusi mit Orchester.In the Wittgenstein estate, only accessible in 2002, only one copy ofun nown origin - a fair copy, but with a good number of errors - of theKlaviermusi mit Orchester has been preserved. It was obtained in thesame year by the Hindemith Foundation (Switzerland) and since then hasbeen ept at the Hindemith Institute, Fran furt/Main. The autographscore as well as the autograph solo parts of the wor , delivered toWittgenstein according to the indications in the letters from Hindemithto Wittgenstein quoted above, must be regarded as lost. In the Hindemithestate, on the other hand, li ewise ept at the Hmdemith Institute,s etches resembling short-score for the first, third and fourth parts ofthe wor have been preserved. With the help of these, the note-text of

the copy of the wor could at least be proof-read and rectified asrequired without any problem. Thus, 81 years after its composition,Hindemith's Klaviermusi (Klavier: lin e Hand) mit Orchester, Op. 29 isfinally accessible and can be made nown for the first time. (GiselherSchubert, Translation: David Babcoc )Content:1. Einleitung2. Sehr lebhafte Halbe3. Trio. Basso ostinato4. FinaleFurther information to this edition:Wer einfhrung von Giselher Schubert Die unglaubliche Geschichte von Hindemiths KLAVIERMUSIK MIT ORCHESTER

Titelstory im Schott A tuell 6/2004 Performances:06.10.2005 SanFrancisco Symphony - Herbert BlomstedtDavies Symphony Hall - San Francisco (CA) - United States of America07.10.2005 SanFrancisco Symphony - Herbert Blomstedt


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Davies Symphony Hall - San Francisco (CA) - United States of America08.10.2005 SanFrancisco Symphony - Herbert BlomstedtDavies Symphony Hall - San Francisco (CA) - United States of America14.10.2005Radio-Symphonieorchester Wien - Bertrand de BillyMusi verein, Groer Saal - Wien - Austria20.10.2005Orquestra Gulben ian - Michael ZilmGrande Auditrio - Lisboa - Portugal21.10.2005Orquestra Gulben ian - Michael ZilmGrande Auditrio - Lisboa - Portugal09.03.2006Konin lij Concertgebouw Or est - Mar us StenzConcertgebouw, Grote Zaal - Amsterdam - Netherlands10.03.2006Konin lij Concertgebouw Or est - Mar us Stenz

Concertgebouw, Grote Zaal - Amsterdam - Netherlands

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