Hindemith Conducts Hindemith:
The Complete Recordings on Deutsche Grammophon
Conductor: Paul Hindemith
Orchestra: Berlin Philharmonic
Performers: Monique Haas, Hans Otte (Piano), Hans Gieseler (Violin)
Years of recordings: 1954-1957
Label: Deutsche Grammophon
SPARS Code: AAD, ADD
About the Composer: A dedicated musical theorist and staunch critic of Atonalism, German composer Paul Hindemith (1895-1963) produced a large number of chamber music pieces, operas, and orchestral works.
About the Music: One of the smaller instalments in Deutsche Grammophon’s Original Masters series, this 3-disc set thoroughly showcases Hindemith’s capabilities as a conductor of his most recognized works. The Mathis der Maler Symphony and the Symphonic Metamorphosis after Themes by Carl Maria Von Weber, his two most accolade-laden achievements, are presented here along with five other lesser-known compositions.
Concerto for Orchestra - Clocking in at roughly twelve minutes, this short yet ambitious piece isn’t the most euphonous work I’ve heard, but it’s still quite interesting and provides the listener with a feel for Hindemith’s general approach to composition. Though there are some brief eloquent moments, the concerto is rather dissonant and will likely irk those accustomed to the serene Romantic form.
Konzertmusik op. 49 for Piano, Brass, and Harps - One of the most entertaining offerings in the trio of discs. Hindemith enlists the talents of pianist Monique Haas for the performance of this delightfully reserved and often unsettling work. I found the music to be surprisingly straightforward for a Hindemith piece, and the collaboration between Haas and the harpists in a number of the passages is quite compelling.
Mathis der Maler Symphony - This symphonic adaptation of Hindemith’s similarly titled opera depicting the life of painter Matthias Grünewald is regarded as the composer’s magnum opus, so it’s nice that we can bear witness to Hindemith’s interpretation. When you hear the extravagant opening fanfare that opens the first movement, you’ll feel sorry that Hindemith didn’t have access to the sound equipment of our time. But even the technological limitations of the day can’t prevent the composer from conveying the intense nature of this piece. I can’t induct the Mathis der Maler Symphony into my list of favourite orchestral works, but I do consider it to be one of Hindemith’s most appealing efforts.
Symphonic Dances - Far more focused and exciting than the Concerto for Orchestra, the Symphonic Dances illustrates Hindemith’s jubilant side. All four segments are of interest, but I was especially taken by the quiet meandering of the third dance. As with the Konzertmusik, Hindemith is very skillful at crafting low-key, inquisitive passages here.
Theme and Variations “The Four Temperaments” for Piano and Strings - It’s another musical experiment courtesy of Herr Hindemith, and one with which I’m not very enthralled. I don’t dislike variations, but I’ve found that if I’m not particularly fond of the main piece of music being reiterated, I probably won’t have much interest in the variations either. Unfortunately, this is the case for me with this work.
Symphonic Metamorphosis after Themes by Carl Maria Von Weber - Hindemith remorselessly steals masterfully adapts various music from Weber’s repertoire to create this jewel. After hearing Hindemith’s other material, you might accidentally assume that the flowery pieces here were crafted by a different composer. Most listeners will gravitate to this work rather quickly after their initial exposure.
Ballet Overture “Amor und Psyche” - Although it bears the standard Hindemith trademarks, this work doesn’t really carve for itself a unique place in the composer’s legacy.
Die Harmonie der Welt Symphony - I struggled in vain to appreciate the quiet nuances of this second symphony based on another of Hindemith’s operas, but I simply couldn’t be moved. As for the sweeping fanfares prevalent in the final movement, I must hesitatingly admit that I found them to be only slightly more profound than the sweeping noises occasionally made by the Oskar broom residing in the laundry room downstairs.
The final track consists of an interview in which Hindemith fields questions about his recording of the Mathis der Maler Symphony. Since I’m about as fluent in German as Mr. Bean is in French, I can’t decipher and comment on the composer’s remarks. A translated transcript of the interview would have been a welcome addition to the liner notes that chronicle the relationship between Hindemith and the recording experts at Deutsche Grammophon.
Hindemith’s music seems to be an acquired taste, and after reviewing this compilation in greater detail, I can understand why he hasn’t garnered the popularity of many other 20th-Century composers. There are many interesting concepts at work in his pieces, however, and if you can get your hands on this set, you’ll receive a comprehensive introduction.
