Paul Hindemith: Ottetto (1957/1958)

Paul Hindemith (1895-1963): Ottetto per clarinetto, fagotto, corno, due viole, violoncello e contrabbasso (1957/1958) -- Maurizio Longoni, clarinetto; Leonardo Dosso, fagotto; Ettore Bongiovanni, corno; Carlo Feige, violino; Carlo Pavolini, 1a viola; Wim Janssen, 2a viola; Marco Decimo, violoncello; Silvio Albesiano, contrabbasso -
I. Breit -- Mäßig schnell
II. Mäßig bewegt
III. Langsam
IV. Sehr lebhaft
V. Fuge und drei altmödische Tänze
-- painting by Lyonel Feininger
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[@stueystuey1962]

he's a natural. so easy to listen to, back in the day when we bought cd's hindemith was one of the few composers, apart from the great classical composers, whose works were somewhat available. Others in that category were stockhausen, ives, cage, messaien. evey composer has his signature "go to" moves and with hindemith for me its those fantastic lush crescendos with such pungent chromaticism, and they arrive unexpectedly, and vanish and then he builds it up again. very enjoyable. on the topic of neoclassicism: it's a silly label with hindemith. he wrote so many masterpieces that have nothing to do with traditional tonality, ensembles of instruments that are unusual, polyrythmic, even polystyle.. And while he didn't go the way of extreme serial composition his works are modern. its that simple. They are masterpieces of modern music. Wellesz G-d bless you.

[@TheTheurgist]

Another exquisite example of Hindemith's genius.
Thanks

[@1lekhine]

One of my favorites composers
Danke

[@JulioDavidAuster]

Ho una raccolta abbastanza nutrita di questo tipo di brani che si rifanno al Settimino di Beethoven e all'Ottetto di Schubert e sono molto contento di aver trovato questo Hindemith come esponente del XX secolo.

[@TheWelleszCompany]

sono io a ringraziarti, a volte ci scappano degli errori nei dati ed è sempre utile avere le segnalazioni da parte degli utenti. Tra l'altro, nel caso specifico è una mancanza grave perchè Feige è un ottimo musicista.

[@JuanRodriguez-uj7le]

thank you again WELLS COMPANY! You have the best stuff.

[@MegaCirse]

Paul Hindemith est plus que le reflet d'une époque, c'est un astéroïde fantôme qui revient jeter son dévolu sur l'art sonore. Une onde prodigieuse chargée de paradoxes d'où s'échappent l'obscurantisme la féérie et l'irrationnel, facteurs hypnotiques défiant les âmes vulnérables en quête d'absolu. Cette architecture sonore est un court tunnel qui mène à la lumière 👻

[@gerardbegni2806]

Hindemith always loved the sonority of the winds. Hrere, in that late work, it appears prominently from thr baginning, lraving the strings behind. Soon, they will taake theit p^lzace, giving birth to a vivis silaogue in which the inventivity of the compooser cans be fully heard.

[@alexandrecosta2708]

Interessante e notável, tanto mais que desconhecia. Execução difícil sobretudo na diversificação de "naipes" - ou seja, clarinete, fagote, trompa nem sempre apoiados pelas cordas, por exigência propositada de Hindemith ("cadenza em vazio aparente" como ele chamava, se me lembro bem do que li) ) mas a interpretação é impecável. Muito bom.

[@nauJRodriguez]

Fantastic intro. Who else writes like this?

[@alphabet661]

This is actually after Hindemith's neo-classicism. He was good friends with Stravinsky and though he chose not to get into serialism, I find his post WW2 stuff far better than many of his earlier works.
I'd consider this neo-baroque, something you hear in Stravinsky as he was in the late stages of his neo-classism,
To me, Hindemith was THE master contrapuntalist of the early/mid 20th century - only composers who come very close are Webern and the American composer Louis Hardin.

[@ngarber]

I know this is 4 years old, but did you just reference Moondog? Outstanding.

[@JulioDavidAuster]

Sono gratissimo del dato, mi stupiva che mancasse sia lo strumento (di cui avevo l'informazione dalla Wikipedia) sia il musicista.

[@thenewhindemithians8629]

The very ending of the 1st mvt has a part which sounds like a quote from his Symphonie in e-flat.

[@TheWelleszCompany]

hai ragione, il nome del violinista è quello di Carlo Feige.

[@JulioDavidAuster]

Vedo soltanto sette musicisti, eppure questo è un ottetto, formato da: clarinetto, fagotto, corno, VIOLINO, 2 viole, violoncello e contrabasso (proprio come Schubert, ma con una viola in più e un violino in meno). Manca, dunque, il nome del violinista. Grazie

[@legnaaaa]

thanks for sharing this
and I would like to know your opinion about the use of the book of traditional harmony written by Hindemith because for me has been an excellent tool and support for my classes and once a group of teachers told me as the book was not great

[@JuanRodriguez-uj7le]

I studied this book and am a teacher. This is THE Book to use. I studied with P.H. student Joe Iadone.

[@dudleybrooks515]

I'm only a student of composition, not a teacher. For harmony I have the books of Sessions, Piston, and Hindemith, and I think that Hindemith is by far the best, partly because his melodies to be harmonized are melodically the best.

[@JuanRodriguez-uj7le]

Angel, are you familiar with his other books? I studied them, there is nothing better.

[@juancruzgigliani4778]

Nel titolo non è scritto il violino.

[@6463538]

Try Bohuslav Martinů.