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Paul Hindemith a idea postępu, tradycja i neoklasycyzm

100%
Księska-Koszałka J.
Kwartalnik Młodych Muzykologów UJ
|
2017
|
issue 4(35)
111-122
EN
Paul Hindemith is one of the most famous composers of the 20th century as well as the most important thinkers in the field of music. His aesthetic beliefs are inspired mainly by Boethius and Saint Augustine. He raises an issue of ideas of tradition and progress, which seemed quite disputable in the music of the 20th century. Hindemith believes that in the world exist some universal spiritual principles, which must be integrated by composers in the process of creating music. He criticises the approaches in which the technique itself appears to be predominant, therefore he negates such techniques as the twelve-tone chromatic scale. According to Hindemith, the development of music must be based on traditional fundaments, which, however, can be linked to modern styles and ideas. That seems crucial not only in the process of composing, but also in teaching music, both in theory and in practice.
2

Paul Hindemith and the Idea of Progress, Tradition and Neoclassicism

100%
Księska-Koszałka J.
Kwartalnik Młodych Muzykologów UJ
|
2017
|
issue 4(35) Eng
112-124
EN
Paul Hindemith is one of the most famous composers of the 20th century as well as the most important thinkers in the field of music. His aesthetic beliefs are inspired mainly by Boethius and Saint Augustine. He raises an issue of ideas of tradition and progress, which seemed quite disputable in the music of the 20th century. Hindemith believes that in the world exist some universal spiritual principles, which must be integrated by composers in the process of creating music. He criticises the approaches in which the technique itself appears to be predominant, therefore he negates such techniques as the twelve-tone chromatic scale. According to Hindemith, the development of music must be based on traditional fundaments, which, however, can be linked to modern styles and ideas. That seems crucial not only in the process of composing, but also in teaching music, both in theory and in practice.
3
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Portret artysty z czasów kryzysu. O Matthiasie Grünewaldzie i operze „Mathis der Maler” Paula Hindemitha

100%
Kozińska D.
Konteksty - Polska Sztuka Ludowa
|
2018
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vol. 72
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issue 3(322)
88-90
PL
Matthias Grünewald, twórca ołtarza z Isenheim, jednego z największych arcydzieł sztuki gotycko-renesansowej, uchodzi za prekursora modernistycznego ekspresjonizmu. Legenda Grünewalda odżyła z końcem XIX wieku i kwitła aż do przełomu lat 1920. i 1930., kiedy ołtarz przyciągnął uwagę luminarzy Nowej Rzeczowości. Zainteresował się nim także kompozytor Paul Hindemith, przywódca młodego pokolenia niemieckiej awangardy. Praca Hindemitha nad operą Mathis der Maler, nawiązującą do życia i czasów niemieckiego malarza, przebiegała w równie burzliwej atmosferze i pociągnęła za sobą równie dramatyczne konsekwencje, jak wieloletni trud włożony przez Grünewalda w powstanie ołtarza w kościele antonitów. Obydwaj twórcy działali w czasach kryzysu: Grünewald w dobie reform Marcina Lutra i krwawych wydarzeń powstania chłopskiego, Hindemith po upadku Republiki Weimarskiej i pod narastającą presją polityki kulturalnej III Rzeszy. W moim szkicu próbuję wyjaśnić, dlaczego Hindemith zajął się właśnie postacią Matthiasa Grünewalda, oraz w jaki sposób uczynił ze swej opery dźwiękowy manifest nonkonformizmu i wolności artysty – przede wszystkim artysty, któremu przyszło funkcjonować w skrajnie nieprzychylnym kontekście społeczno-politycznym.
EN
Matthias Grünewald, author of the Isenheim altar, one of the greatest masterpieces of Gothic-Renaissance art, is regarded as a precursor of Modernistic Expressionism. The Grünewald legend was revived at the end of the nineteenth century and flourished all the way to the turn of the 1920s when the altar drew the attention of luminaries of New Reality (Neue Sachlichkeit). It also attracted the interest of Paul Hindemith, leader of the young generation of the German avant-garde. His work on the opera Mathis der Maler, referring to the life and time of the German painter, was pursued in a similarly turbulent atmosphere and produced equally dramatic consequences as Grünewald’s years-long efforts connected with the creation of the altar in the Antonine church. Both authors worked at a time of a crisis: Grünewald in a period of the reforms launched by Martin Luther and the bloody events of the Peasant War, and Hindemith in the wake of the fall of the Weimar Republic and under the growing pressure of the cultural policy of the Third Reich. The author of this sketch endeavoured to explain why Hindemith chose precisely Matthias Grünewald, and the manner in which he conceived his opera as a manifesto of non-conformism and the freedom of an artist - predominantly one who is doomed to function in an extremely unfavourable socio-political context.
4
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Apparebit repentina dies: Hindemith’s musical panorama of Judgment Day

88%
Bruhn S.
Interdisciplinary Studies in Musicology
|
2015
|
issue 14
34-47
PL
In 1947, while teaching at Yale University, the German composer Paul Hindemith (1895-1963) wrote a composition for mixed chorus and brass ensemble based on an anonymous Latin hymn believed to date from the 8th century or before. This text, which he had discovered in The Oxford Book of Medieval Latin Verse, tells in a poetic rewording of New T estament passages of the events to be expected on Judgment Day. Below a deceptively simple surface with regular trochaic tetrameters organized in 23 couplets that are launched by the consecutive letters of the alphabet, the hymn hides various dramatic perspectives. These include a narrator announcing what is to come and later describing what he witnesses in a vision, direct-speech dialogues between Christ as the Judge of the World and the two groups of the chosen and the damned, and a concluding moral admonishment addressed by the pious author to his contemporary listeners or latter-day readers. As the analysis of the musical structure and texture, meter and rhythm, thematic material and tonal organization shows, Hindemith achieves a semiotic rendering of these aspects and many finer nuances. Just as the medieval text ostensibly uses only one mode throughout without depriving the message of any of its colorful expressiveness, so Hindemith’s music uses only one constellation of sound colors - choral singing against or in alternation with ten brass instruments - to bring the multifaceted scene to life. This music is both text setting and scenic painting, replete with refined allusions as well as onomatopoeic depiction, weaving a web of signification with which the composer at once heightens and deepens the early poet’s message.
5
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“So we have a new musical and social form - opera-crisis:" the transformation of Bohuslav Martinů’s music theatre after “Black Tuesday” 1929

54%
Březina A.
Hudební věda (Musicology)
|
2023
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vol. 60
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issue 1
35-48
EN
In the years 1925–1929, Martinů composed five ballets and four operas. At the time, he was already fully acclimatised to the creative environment of the Parisian avant-garde scene. The themes and style of his stage works were radical in their time; Martinů’s sharply dissonant music combined highly cultured classical instruments with the instruments and musical characteristics of contemporary jazz. In particular, six avant-garde opuses, composed from the second half of 1927 onward, ranked him among the most promising talents of the young generation. For a surprisingly long time, Martinů did not reflect in his work the Wall Street Crash of October 1929. In 1930 he wrote his last jazz ballet and began composing a three-act opera, Le jour de Bonté (The Day of Good Deeds), on Ribemont-Dessaignes’ libretto. Work on it was abruptly interrupted in April 1931. At that time, however, he had already finished the cantata Legenda o svaté Dorotě (Legend of St Dorothy), which hinted at a fundamental change of theme and style. Instead of French texts Martinů began to set Czech lyrics to music and focused his attention almost exclusively on Czech theatres. He significantly simplified the means of expression and, in his own words, began to strive for “folk theatre”. A characteristic feature of his stage work became the mixing of genres – Legenda o svaté Dorotě was later incorporated into the “ballet with singing” Špalíček (The Chap Book). Over the next four years, Martinů followed up Špalíček with the operas Hry o Marii (The Plays of Mary) and Divadlo za bránou (The Theatre Beyond the Gate), to create what he himself called the “Czech trilogy”. Such a radical change in genre, means of expression, and target audience in his work raises questions. To what extent was it a response to the global economic crisis and Martinů’s difficult financial situation? Did he want to establish a constructive approach in times of economic crisis instead of the consciously destructive Dada influence from the time of economic prosperity? Or is it possible to understand his sudden inclination towards “folk theatre” as a logical step in the context of a similar development of other composers of the 1930s?
CS
V letech 1925–1929 složil Martinů, tou dobou již aklimatizovaný v tvůrčím prostředí pařížské avantgardy, pět baletů a čtyři opery. Jejich témata i styl byly ve své době radikální, v ostře disonantní hudbě kombinoval Martinů tradiční nástroje vysoké kultury s nástroji a hudebními postupy charakteristickými pro tehdejší jazz. Zejména šesti avantgardními opusy, složenými od druhé poloviny roku 1927 se zařadil mezi nejslibnější talenty mladé generace. Černé úterý na newyorské burze v říjnu 1929 Martinů zaznamenal, ale překvapivě dlouho ve své tvorbě nereflektoval. V prvních dvou měsících následujícího roku vytvořil svůj poslední jazzový balet Šach králi a vzápětí dokonce začal na libreto Ribemonta-Dessaignese skládat tříaktovou celovečerní operu Den dobročinnosti. Práci na ní náhle přerušil v dubnu 1931. V té době měl ale již rozpracovanou Legendu o sv. Dorotě, v níž se rýsovala zásadní změna námětů a hudebního stylu jeho jevištních děl. Martinů začal zhudebňovat české texty a zaměřil svou pozornost takřka výhradně na česká divadla. Skladatel výrazně zjednodušil výrazové prostředky a začal podle vlastních slov usilovat o „lidové divadlo“. Charakteristickým rysem jeho jevištní tvorby se stalo míšení žánrů – kantáta Legenda o sv. Dorotě byla později začleněna do „baletu se zpěvy“ Špalíček. Ten Martinů během následujících čtyř let doplnil o celovečerní opery Hry o Marii a Divadlo za bránou na „českou trilogii“. Tak radikální změna žánru, výrazových prostředků i adresáta své tvorby vyvolává otázky. Do jaké míry šlo o reakci na světovou hospodářskou krizi a skladatelovu tíživou finanční situaci? Měl snad sociálně silně vnímavý Martinů potřebu nastolit místo bořícího DADA doby hospodářské prosperity konstruktivní přístup v době ekonomické krize? Nebo je možné chápat skladatelův příklon k lidovému divadlu jako logickou vývojovou změnu v kontextu obdobného vývoje dalších skladatelů 30. let?
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