Paul Hindemith - String Quartet No. 2, Op. 10
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- Опубліковано 28 чер 2024
- - Composer: Paul Hindemith (16 November 1895 -- 28 December 1963)
- Performers: Kocian Quartet:
Pavel Hůla (violin), Jan Odstrčil (violin), Zbyněk Paďourek (viola), Václav Bernášek (cello)
- Year of recording: 1995
String Quartet No. 2 in F minor, Op. 10, written in 1918.
00:00 - I. Sehr lebhaft, straff im Rhythmus
05:46 - II. Thema mit Variationen. Gemächlich
15:43 - III. Finale. Sehr lebhaft
Paul Hindemith wrote his three-movement String Quartet No. 2, Op. 10, between January and April 1918 while he was a soldier in the field, yet it is free of those horrors of war which Hindemith experienced and also described in a war diary; by his own testimony he survived a grenade attack only "by a miracle". With the composition of this work Hindemith seems to have released himself physically and to have escaped into another world which gave him the power to withstand the terrible experiences of the war. The work is a first synthesis of his early compositions. It seems to be as much influenced by Brahms or Reger, as by the colouristic stimulus and impetus of Slavic music.
- Hindemith constructs the first movement as a concise sonata movement with thematic material which is pithy and which never gets out of control or is too insistent. In the development section he includes, unusually enough, a fugato, which is to be performed "completely listlessly, numb" and which maintains the identity of the fugal subject which is derived from the main theme, not just breaking it up or fragmenting it.
- The six variations of the middle movement, on an original theme, which returns unaltered at the end, stand out not only through the superior intervention of the art of thematic transformation, but also perhaps suggest the fourth variation, which has the character of a slow march and which should be played "like music from afar", and in the third variation which has parodies of expressive "romantic" playing with rubato.
- The Finale, on the other hand, is a technically challenging, extremely demanding, concertante virtuoso movement for all four instruments, with an elegantly catchy subsidiary theme, that skilful chamber music opens up with supporting elements, completes and extends. It ends with a rousing coda.
As the distinguished music critic Alfred Einstein observed in the 1920s, this music operates with "an absolutely overpowering joy in playing and hearing music." It stands as another good example that Hindemith's string quartets cycle should be just as famous as Bartók's and Shostakovich's.
A puzzling work on stylistic level, but incredible writing, a masterpiece, and not easy to perform (with a scordatura on top). Thanks for sharing.
I've said it before I'll say it again Hindemith is my favorite composer bearing the modern sound. I want to hear everything he wrote.
+scottbos68 Hindemith seems to me to be one of the few "modern" composers who embraced the past and did new things with old forms and conventions, but also looked into the future.
What an inspired and inspiring piece! Never heard it played before and surely it deserves to be heard much more often. I want to listen to his other quartets now. Yes, there are many similarities to Bartok quartet in the sheer exuberance, and originality.
Thank You "olla-vogala" for uploading the marvellous string quartets of Hindemith. Unbelievable that they are not better known. You did a fantastic job and made many music lovers very happy, I'm one of them.
Thanks a lot for the score of this beautiful and powerful masterpiece of the young Hindemith!
Thank you for posting all of this music with the score. I have been following you for a while now. You are my new favorite person. Keep 'em coming!
+Jason Richmond Thank you so much! And I will!
+Jason Richmond Hey Jason!!!
Brian! You found me!
There is something "Verklährte Nacht" in this wonderful string quartett.
Oh no, please! Owful name...... No way.
What a great quartet! And thank you, olla-vogala, what a wonderful and valuable channel you have.
This is the best discovery that I've made on You Tube in a long time.
+Charles McHugh I'm flattered, thank you!
What is odd about this terrific music is that it is not only exciting to listen to but but also great to play and it is rarely programmed. His quartets go in tamtem with the Bartok quartets really well. They await a serious renaissence.
I have a very hard time finding a free version of this on Amazon. Thank you very much also, having the score visually available...Some of my favorite string music ever.
Yes it is great! You're welcome Christian :)
This quartet seems to be a spoof or caricature on Romantic works in the genre. Nice, romantic-sounding themes unravel and get melodically and harmonically out of control. This is most evident in the variations of the second movement.
Hindemith is one of the biggest in music - no matter what people say. They all should just listen to H's string quartets and see all their magnificent counterpoint, polyphony, fugues, rhythms, harmonies, etc. etc. and they will see what I'm talking about. Brahms, Schumann, Beethoven and Bach would have been all thrilled by his music.
I absolutely love this music, without understanding it one bit.
what does it mean to "understand" music?
@@geralvon many things, i guess
As a teenager, I noticed that I didn't like Bach, but after having to listen to it for Music Appreciation, I began to love it. So I thought maybe if I listen to almost any music a number of times I'll turn out to like it. So I tried with this piece because I found atonal music to be godawful and listened to it, concentrating on it; lo and behold afterwards I found that I loved it after all. My conclusion: there's no such thing as bad music. But back to Hindemith, now I really enjoy the wild craziness of his music. The only music I haven't yet been able to get into is the Indian ragas, but I see that people from India really really love it; maybe it's like learning a language - you have to get immersed in it.
This is impractical conclusion
@@Qazwdx111he's right though. It's like acquiring tastes. You may not like the way something tastes but the more you eat it, the more palpable it becomes and then you start to enjoy eating it. It's the same with modern music (neotonality, 12-tone, atonal, etc)
Hindemith lplayed viola, so he knew perfectly the art of weiting for sytings; nevertheless, we do not find in his qurets rhose se special effects rhat xe can fond in Barok's, who was a gifted pianist. Hindemith had a more horieontal way of thinking his music, imagining all sorts of contrapuncrical ombinations; This is thr very art of th string quartet. This is why his quartets ar so convincing to hear.
nice
Wikipedia informs me that Hindemith wrote seven string quartets.
Cannot remember hearing any of them on the two local classical music radio stations.
+Harry Andruschak No but that's because they are really underplayed, and unknown as well! They should receive as much radio airtime as Bartók and Shostakovich, in my opinion.
olla-vogala Here in southern California, that isn't much air time :( But you will hear one of the CARMEN suites every few days
+olla-vogala I couldn't agree more. Hindemith was a virtuoso on the viola, which handily explains the brilliant string writing for that instrument, and for the whole ensemble. I've only heard a few of Hindemith's quartets, and this one is the most brilliant and spell-binding I've heard so far. So thank you very much for posting it with the score, which makes for very exciting reading/listening. I love Hindemith's shifts of meter, his play of triplets vs. straight 8ths and 16ths, the virtuosic flourishes; in short his wholly brilliant and utterly absorbing writing. While this quartet is a good 1/2 hour I thought it actually too short!
The fugue at 2:15
All the fugues in this piece
"Fugue" is quite too loud: maybe, fugato? 🤗
This is the most Russian-like I've ever heard! 1st seemed Tchaikovsky, later movements something like Prokofiev or Kabalevsky or the unknown one 😁
26:53 reminds me of ua-cam.com/video/KUqvCr7SOok/v-deo.html
Might it be a quote?