Album insights
Paul Hindemith was a versatile instrumentalist among all composers, claiming he could play any orchestral instrument. Starting with the violin, he became the concertmaster of the Frankfurt Opera Orchestra at just 19 years old. Transitioning to the viola towards the end of World War I, he gained international recognition in the interwar period as a chamber musician and soloist, while continuing to compose for the violin, reflecting various stages of his musical language from late Romantic vocabulary to the revived, monumental Baroque idiom of his mature years.
The Violin Sonata in E-flat major, Op. 11, No. 1, marked the beginning of a series of six sonatas for string instruments that Hindemith initiated in 1918 during his service in the German army. Unconventionally grouped under Opus 11, this departure from typical romantic individual work-marking emphasized Hindemith's move away from traditional frameworks. The sonatas capture the shift from late 19th-century romanticism to edgier, more objective tones.
Premiered in Frankfurt in 1919, the Sonata in E-flat major became a career-defining moment for Hindemith, leading to a pivotal contract with the Mainz-based Schott music publishing house. Initially envisioning it as a sonatina, he did not complete a third movement, deeming the two completed ones satisfying.
The lively first movement of the Sonata features bold fanfare-like elements contrasting with softer, expansive themes influenced by Debussy's music. The harmonic ambiguity and chromatic richness reflect Hindemith's admiration for Debussy, particularly during his time in the military at the Western Front.
The Sonata in D major, Op. 11, No. 2, premiered in 1920, showcases a tighter connection to late romanticism and impressionism, with a dynamic interplay between assertive and delicate themes reminiscent of Schumann and Debussy. The expressive, melodic style in the slow movement highlights Hindemith's talent for emotive melodies.
In contrast, the final movement, characterized as a swift dance, exudes a Baroque-inspired joviality with contemporary flair, akin to elements found in Korngold's work, harmonizing intriguingly with contrasting themes.
The Sonata in E major, composed in 1935 and premiered in Geneva in 1936, reflected a period of transition in Hindemith's career, marked by a return to expressive styles and a clash with the rising National Socialist regime in Germany that culminated in performances abroad.
The E major Sonata's serene, apollonian clarity and formal balance distinguished Hindemith's evolving compositional style, demonstrating a blend of tonal qualities and an intricate melodic narrative.
Hindemith's Violin Sonata in C major of 1939 stands as one of his most accomplished works in this genre, signaling a departure from Germany and a significant phase of productivity. Composed amidst geopolitical turmoil, it embodies a dramatic depth and intensity in response to looming adversities, with the final movement culminating in a triumphant musical statement.
Malcolm MacDonald © 2013
Translation: Christiane Frobenius