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. Studying Hindemith’s music may be interesting to all those who are fond of the sounds of the music of old masters, as well to those who are open to new ideas, because his music represents a synthesis of old and new musical thought.'Hindemith’s success lies in his being a power for order.’ Thus Wilhelm Furtwängler, writing in his Notebooks for 1945. Third chapter brings brief presentation on the use of Hindemith's compositional technique on excerpts from the fugues of the Ludus tonalis cycle, with the aim of examination his compositional principles in a practical sense. Purpose of detailed analysis of the fugues is to determine which traditional features the composer retains, and which ones he replaces with his own expressive and technical means. First part of this master's thesis presents Hindemiths’ compositional theory, while the second part brings observation on his compositional principles in fugues of the Ludus tonalis piano cycle. Considering that the development of music must be based on traditional foundations that can be integrated with contemporary ideas, Hindemith creates his own compositional theory on the solid foundations of tradition. In a turbulent time of searching for new ideas and ways of music development, with the aim of creating his own compositional theory, Hindemith observed the nature of musical material. Paul Hindemith is one of the most significant composers and music theorist of the 20th century. Proučavanje Hindemithove glazbe bit će zanimljivo svima onima koji su zaljubljenici u zvuke glazbe starih majstora, kao i onima koji su otvoreni prema novim idejama njegova glazba idealan je prikaz sinteze starog i novog, odnosno rađanja nove misli na temeljima stare. U trećem poglavlju kratko je prikazana primjena Hindemithove tehnike skladanja na isječke iz fuga spomenutog ciklusa, s ciljem propitivanja njegovih skladateljskih principa u praktičnom smislu. ![]() ![]() Kroz detaljnu analizu fuga cilj je utvrditi u kojoj se mjeri one naslanjaju na baroknu fugu, odnosno koje tradicijske značajke skladatelj zadržava, a koje zamjenjuje vlastitim izražajnim i tehničkim sredstvima. U prvom dijelu ovog magistarskog rada detaljno je izložena Hindemithova skladateljska teorija, dok u drugom dijelu promatramo njegove skladateljske principe na primjeru fuga iz ciklusa Ludus tonalis. Smatrajući kako se razvoj glazbe mora temeljiti na tradicionalnim osnovama koje se mogu integrirati sa suvremenim idejama, Hindemith na čvrstim temeljima tradicije stvara svoju skladateljsku teoriju. ![]() U burnom vremenu traganja za novim idejama i putevima glazbe, s ciljem stvaranja vlastite skladateljske teorije, Hindemith se vraća ishodištima i prirodnim svojstvima glazbenog materijala. Paul Hindemith jedan je od najznačajnijih skladatelja i teoretičara glazbe 20.
0 Comments
Leave a Reply. |