FIRST MOVEMENT: Ternary Form 0:00 A Section 0:44 B Section 1:03 A Section SECOND MOVEMENT: Ternary Form 1:30 A Section 2:07 B Section 3:07 A Section THIRD MOVEMENT: Ternary Form 3:24 A Section 5:00 B Section 7:41 A Section FOURTH MOVEMENT: Binary Form 9:10 A Section 9:45 B Section 10:06 A Section 10:27 B Section FIFTH MOVEMENT: Ternary Form 11:00 A Section 12:26 B Section 13:37 A Section
If I remember correctly he heard another famous violists, I believe it was Primrose, play it significantly faster and like it better that way so he changed the tempo marking
Suggerisco l'ascolto della musica di Kalevi Aho, per me uno dei massimi compositori attuali. Specialmente la sua Sinfonia no.12 "Luosto", capolavoro del 21esimo secolo
It could be a "Sprenger-Bratsche", a Sprenger viola (Eugen Sprenger, 1882-1953). I found a document (in German: skemman.is/bitstream/1946/2371/1/Lokaritgerd.pdf ) where it states that Hindemith played one of these violas.
It's an f natural. Go to video settings and change the playback speed to 0.75 or 0.5 and you can clearly hear a half tone there, f natural to e natural. It's a pattern of downward fourths starting in bar 12: g-d, e-b, c#-g#, b flat - f. It's very difficult to not feel it in your fingers. I think that would be very hard to confuse or miss.
It could be a "Sprenger-Bratsche", a Sprenger viola (Eugen Sprenger, 1882-1953). I found a document (in German: skemman.is/bitstream/1946/2371/1/Lokaritgerd.pdf) where it states that Hindemith played one of these violas.
Hindemith performs Hindemith I actually thinks that he plays it surprisingly romantic with all those portamemti and (for me) also quite a lot of vibrato.
@@zalba5710 I agree with you, in fact despite the teachings he imparted to his students, his heart was fully romantic. And in all his recordings he proves it.
Besides being a Hindemith fan, he would have a lot of trouble to enter an average professional orchestra nowadays. And this counting that he had a pretty good viola. I mean, classical musicians paradoxes
But I must say his phrasing, Specially in the 1st movement is superb. He is in any case with Schönberg an ambassador of German XXth century music and one of the most underrated composers of the century.
I'm not quite sure why you say he would have trouble entering an "average professional orchestra" nowadays. I myself got into such an orchestra playing a very bad viola with a very bad bow plus broken strings that I had tied back together!!! I hadn't seen the orchestral excerpts books thus I did sightread what the conductor asked me to play! Hindemith would certainly beat me getting into that orchestra! What I'm saying is, you have violists playing in orchestras right now who would have trouble playing the 1st movement here. Paradoxes work both ways.
Hindemith's interpretation here is, in my view, 100% cohesive! I hear a master interpretation from an accomplished artist! Every single note fulfilling a clear poetic narration of this piece! If it is a question of technical skill, I still don't understand why he wouldn't make it: it's almost 100% in tune and his bow is playing clean notes. You'll probably have to elaborate on the "trouble to enter an average professional orchestra".
That reminds me of something I think Josef Gingold remarked late in life - that the quality of musicians these days is much better - thanks to the proliferation of good teachers like himself. In his day - only a handful of soloists in all the world could play certain especially difficult pieces. Now there's a handful who can play them in every orchestra!
@@SelectCircle This is the normal development across the board, be it in sports, the sciences or the arts. Technique is steadily improving. That being said, I'm not sure artistic quality on the whole has improved all that much, and I'd take Cortot and his handful of wrong notes over someone like Hamelin or Trifonov any day of the week.
No. He ignores his own tempo and dynamic markings. Breit viertel means broad quarter and he hurries. He ignores the hairpin in m. 3-4. The structure of the first movement is slow fast slow....it comes out fast slow fast. Second movement is all loud. Third movement lacks breath and poetry. And too loud!!! An interesting historical artifact. Third movement intonation becomes gruesome....he cannot play octave c string in tune.....and where was the big crescendo. A perfect fourth...OMG horrible ! He was a great composer, but he put neither thought nor practice into this performance. He left out the repeat in mvt 4!
One of the commentators above said that Hindemith was impressed by the interpretations of certain better performers. He counted these changes as improvements on his original score and adopted them in his own performances.
FIRST MOVEMENT: Ternary Form
0:00 A Section
0:44 B Section
1:03 A Section
SECOND MOVEMENT: Ternary Form
1:30 A Section
2:07 B Section
3:07 A Section
THIRD MOVEMENT: Ternary Form
3:24 A Section
5:00 B Section
7:41 A Section
FOURTH MOVEMENT: Binary Form
9:10 A Section
9:45 B Section
10:06 A Section
10:27 B Section
FIFTH MOVEMENT: Ternary Form
11:00 A Section
12:26 B Section
13:37 A Section
I wish I knew this recording 30 years ago.
Do I have your permission to play the fourth mvmt this slowly? And with this many wrong notes? All those hours in the practice room... ;)
I wonder why performance practice of the fourth movement is faster than what hindemith intended? Any ideas?
There is another recording of the fourth movement played by hindemith and in that recording he performed it faster.
ruclips.net/video/WNs764ZOsm8/видео.html
@@HindemithperformsHindemith Very enlightening, thank you!
If I remember correctly he heard another famous violists, I believe it was Primrose, play it significantly faster and like it better that way so he changed the tempo marking
Dopo Hindemith e Ligeti la Musica è andatz in crisi. Ci vorrà qualche decennio.😢
Suggerisco l'ascolto della musica di Kalevi Aho, per me uno dei massimi compositori attuali. Specialmente la sua Sinfonia no.12 "Luosto", capolavoro del 21esimo secolo
Thanks for posting this. It's a great historical document, but, that said, it's not a piece I would choose to listen to again.
Do you know the luthier of Hindemith viola?
It could be a "Sprenger-Bratsche", a Sprenger viola (Eugen Sprenger, 1882-1953). I found a document (in German: skemman.is/bitstream/1946/2371/1/Lokaritgerd.pdf ) where it states that Hindemith played one of these violas.
I'm sure in Bar 14 he plays an f sharp (3rd quaver) or do my ears deceive me?
It's an f natural. Go to video settings and change the playback speed to 0.75 or 0.5 and you can clearly hear a half tone there, f natural to e natural. It's a pattern of downward fourths starting in bar 12: g-d, e-b, c#-g#, b flat - f. It's very difficult to not feel it in your fingers. I think that would be very hard to confuse or miss.
Does anyone by chance know, what Viola he is playing and where it is now? I could not find anything about it anywhere
It is probably kept in the museum of the Hindemith Institute
@@HindemithperformsHindemith thank you very much :)
It could be a "Sprenger-Bratsche", a Sprenger viola (Eugen Sprenger, 1882-1953). I found a document (in German: skemman.is/bitstream/1946/2371/1/Lokaritgerd.pdf) where it states that Hindemith played one of these violas.
@@hjl1970-musica thank you!
@@hjl1970-musica Don't you mean a Jerry Springer Viola? :)
Eccezion fatta per Shostakovich e Prokofiev.
A little vibrato would be nice, especially since he asks for DEEP FEELINGS (maybe MUCH FEELING but it calls for deep )
A pupil of his told me that he was against any romanticism or interpretations related to the romantic style of the late 19th century
Hindemith performs Hindemith I actually thinks that he plays it surprisingly romantic with all those portamemti and (for me) also quite a lot of vibrato.
@@zalba5710 I agree with you, in fact despite the teachings he imparted to his students, his heart was fully romantic. And in all his recordings he proves it.
Besides being a Hindemith fan, he would have a lot of trouble to enter an average professional orchestra nowadays. And this counting that he had a pretty good viola. I mean, classical musicians paradoxes
But I must say his phrasing, Specially in the 1st movement is superb. He is in any case with Schönberg an ambassador of German XXth century music and one of the most underrated composers of the century.
I'm not quite sure why you say he would have trouble entering an "average professional orchestra" nowadays. I myself got into such an orchestra playing a very bad viola with a very bad bow plus broken strings that I had tied back together!!! I hadn't seen the orchestral excerpts books thus I did sightread what the conductor asked me to play! Hindemith would certainly beat me getting into that orchestra! What I'm saying is, you have violists playing in orchestras right now who would have trouble playing the 1st movement here. Paradoxes work both ways.
Hindemith's interpretation here is, in my view, 100% cohesive! I hear a master interpretation from an accomplished artist! Every single note fulfilling a clear poetic narration of this piece!
If it is a question of technical skill, I still don't understand why he wouldn't make it: it's almost 100% in tune and his bow is playing clean notes. You'll probably have to elaborate on the "trouble to enter an average professional orchestra".
That reminds me of something I think Josef Gingold remarked late in life - that the quality of musicians these days is much better - thanks to the proliferation of good teachers like himself. In his day - only a handful of soloists in all the world could play certain especially difficult pieces. Now there's a handful who can play them in every orchestra!
@@SelectCircle This is the normal development across the board, be it in sports, the sciences or the arts. Technique is steadily improving. That being said, I'm not sure artistic quality on the whole has improved all that much, and I'd take Cortot and his handful of wrong notes over someone like Hamelin or Trifonov any day of the week.
No. He ignores his own tempo and dynamic markings. Breit viertel means broad quarter and he hurries. He ignores the hairpin in m. 3-4. The structure of the first movement is slow fast slow....it comes out fast slow fast. Second movement is all loud. Third movement lacks breath and poetry. And too loud!!! An interesting historical artifact. Third movement intonation becomes gruesome....he cannot play octave c string in tune.....and where was the big crescendo. A perfect fourth...OMG horrible ! He was a great composer, but he put neither thought nor practice into this performance.
He left out the repeat in mvt 4!
Mvt 4 is not close to his metronome mark....
One of the commentators above said that Hindemith was impressed by the interpretations of certain better performers. He counted these changes as improvements on his original score and adopted them in his own performances.
I suppose Hindemith has the liberty to ignore his own markings.... what a strange picky manner.... isn't he the artist?