Some more detail. The piece was written for Wittgenstein, who refused to perform it or to release his exclusive rights all the way to his death in 1961. Hindemith might have then revived it, but he didn't have a score. Gertrud Hindemith, the composer's widow, died in 1967, not 2002. I have read in New York Philharmonic program notes that in 2002, a Wittgenstein relative led a musicologist to a score that was a copy of the original manuscript, which has yet to be found. It corresponded to surviving sketches that Hindemith had made of the piece, the only way to establish its authenticity. Wittgenstein's commissioning project gave us one masterpiece, by Ravel, and a number of good-to-less-good works. This is in the good category.
Wittgenstein did not "refuse to perform" this piece. In fact his fingerings in the score prove he spent a great deal of time studying it, even if he wasn't sure about the music. Unfortunately, political factors in 1930s overshadowed his career & cost him most of his money. It seems he had to sell the MS to a Swiss collector in order to flee to USA.
Wittgenstein DID refuse to play this music. He was too conservative in taste to be able to cope with the modernity of the piece and therefore locked it up in his archive.
I like this immediately even more than my dozen or so listens to the pf concerto .What yearwas this written ? It sounds earlier than the piano concerto.Has a very 20's neoclassical sound toit! Has the same motif as Bartok 2nd in places .Even the continuous motivic working and placement against each is very similarIbelieve its the same.
Yes! Hindemith was first in 1923. Bartok's 2nd is from 1931. Hindemith was friends with Bartok. There are some photos of them in Cairo when the1932 Congrès on Arabic Music took place. I wonder if Bartok acknowledged his debt to Hindemith. I think there is influence from Hindemith's piece in Stravinsky's Concerto for piano and winds (1924) as well. Thanks to punkpoetry for finding this great performance/piece.
Yes the similarity is there....but, this work was never performed in those years. How would Bartok even be aware of it? It is unlikely that Bartok would even see the score.
There is no definitive proof that Paul Wittgenstein "refused" to play or perform this. If someone has evidence to convince us beyond any reasonable doubt, then by all means, troll away. Until then... perhaps he found the composition unappealing or too challenging, or he simply didn't understand the advanced mechanics of the piece. We don't even know that for sure yet. But I can say first-hand, that Leon Fleisher played it and brought the house down for us, at Davies (San Francisco) in 2005.
![Maurice Ravel - Piano Concerto for the left hand [With Orchestral Score]](http://i.ytimg.com/vi/flNyZuI1NrY/mqdefault.jpg)
![Maurice Ravel - Piano Concerto for the left hand [With Orchestral Score]](/img/tr.png)
![Paul Hindemith - Concerto for Woodwinds, Harp and Orchestra [With score]](http://i.ytimg.com/vi/G5EoRR3-YRc/mqdefault.jpg)
One of my favorite pieces ever!!
Caught the final movement on a recent radio broadcast. Needed hear the rest of it.
The premiere recording by the Curtis Symphony (also with Fleisher) is worth a listen. Or in my case, lots of listens.
Some more detail. The piece was written for Wittgenstein, who refused to perform it or to release his exclusive rights all the way to his death in 1961. Hindemith might have then revived it, but he didn't have a score. Gertrud Hindemith, the composer's widow, died in 1967, not 2002. I have read in New York Philharmonic program notes that in 2002, a Wittgenstein relative led a musicologist to a score that was a copy of the original manuscript, which has yet to be found. It corresponded to surviving sketches that Hindemith had made of the piece, the only way to establish its authenticity. Wittgenstein's commissioning project gave us one masterpiece, by Ravel, and a number of good-to-less-good works. This is in the good category.
It was Wittgenstein's widow, not Hindemith's, who refused to allow the score to be made public. Wittgenstein's widow did indeed die in 2002.
Wittgenstein did not "refuse to perform" this piece. In fact his fingerings in the score prove he spent a great deal of time studying it, even if he wasn't sure about the music. Unfortunately, political factors in 1930s overshadowed his career & cost him most of his money. It seems he had to sell the MS to a Swiss collector in order to flee to USA.
Wittgenstein DID refuse to play this music. He was too conservative in taste to be able to cope with the modernity of the piece and therefore locked it up in his archive.
@@MGJS71 Wow! This piece has a lot of convoluted history behind it. And still no one knows where the original score is.
@@nigelhaywood9753 I believe the original score emerged in Switzerland after Fleisher's premiere.
I like this immediately even more than my dozen or so listens to the pf concerto .What yearwas this written ? It sounds earlier than the piano concerto.Has a very 20's neoclassical sound toit! Has the same motif as Bartok 2nd in places .Even the continuous motivic working and placement against each is very similarIbelieve its the same.
Yes! Hindemith was first in 1923. Bartok's 2nd is from 1931. Hindemith was friends with Bartok. There are some photos of them in Cairo
when the1932 Congrès on Arabic Music took place. I wonder if Bartok acknowledged his debt to Hindemith. I think there is influence from Hindemith's piece in Stravinsky's Concerto for piano and winds (1924) as well. Thanks to punkpoetry for finding this great performance/piece.
Yes the similarity is there....but, this work was never performed in those years. How would Bartok even be aware of it? It is unlikely that Bartok would even see the score.
Again, there is no evidence of Bartok having a "debt" to this work, it was never performed and the score would not be known to Bartok.@@zygo3067
There is no definitive proof that Paul Wittgenstein "refused" to play or perform this. If someone has evidence to convince us beyond any reasonable doubt, then by all means, troll away. Until then... perhaps he found the composition unappealing or too challenging, or he simply didn't understand the advanced mechanics of the piece. We don't even know that for sure yet. But I can say first-hand, that Leon Fleisher played it and brought the house down for us, at Davies (San Francisco) in 2005.
ヴィトゲンシュタインはヒンデミットにも協奏曲を委嘱していたのか
知らなかった