Chamber Music - Volume V by Paul Hindemith The Musical Heritage Society (OR H-293)

 OR H-293

PAUL HINDEMITH

(1895-1963)

Chamber Music - Volume V

Side 1°

DIE SERENADEN, Op. 35 (1925)

Little Cantata on Romantic Texts for Soprano, Oboe, Viola and Cello

1. a. Barearole (Adolf Licht) 2. a. Duet for Viola and Cello

for Soprano, Oboe and Cello b. Der Abend Gore von Eichendorff)

Soprano and Oboe

b. ..W.L. Gleim) : Teese

an ns vee c. Der Wurm am Meer (J. W. Meinhold)

occata for Cello solo for Soprano, Oboe, Viola and Cello

Coctente for Soprano and Cello 5 4 "Trig for Oboe, Viola and Cello

c. Nur Mut (Ludwig Tieck) b. Gute Nacht (S.A. Mahlmann)

for Soprano, Oboe and Cello Hare brasolawd Cello

CHARLOTTE LEHMANN, Soprano

Willi BACHERT, Oboe; Jargen KUSSMAUL, Viola; Jirgen WOLF. Cello

Side 2:

FOUR MOTETS

for Soprano and Piano

No. 1. Exiit edictum (1960)

No. 2. Pastores loquebantur (1944)

No. 9. Cum factus esset Jesus (1959)

No. 11. Nuptiae factae sunt (1944)

MARGOT FEUERHAKE, Soprano

Ulrich MECKIES, Piano

DIE SERENADEN, OP. 35

The species of vocal music with chamber music accom-

paniment, which plays such a decisive role in the creations

of the Viennese school (and in present-day music), was

only ok posting interest to Hindemith. Besides the work

presented here, probably the most important one in the

short list, we can only mention: “Des Todes Tod” (Op. 23,

No. 1; 1922) for soprano, two violas and two celli; “Die

junge Magd” (Op. 23, No. 2; 1922), six poems by Georg

Trakl for contralto, flute, clarinet and string quartet; and

also the unpublished “Melancholic” (poem by Morgen-

stern) for contralto and string quartet (Op. 14).

As texts for “Die Serenaden,” a perfect model of a

secular chamber cantata, Hindemith chose anacreontic love

poetry and meditations on human destiny from German

romanticism, Yet, we do not encounter any outpouring of

romantic sentiment. But young Hindemith succeeds in creat-

ing a series of sensitive images that much more closely

reflect the true meaning of the poetic texts.

This little known work, in which vocal movements

alternate with instrumental interludes, is one of his most

original and enchanting creations. The opening Barcarole

proceeds in rather lively rocking 6/8 time. The simple,

almost popular vocal line is accompanied by instruments in

imitative style, The pulse of the lively Toccata for cello is

maintained in the following Corrente, even though the

meter changes from 2/4 to 3/8. Tieck’s poem is set in a

pleasing Grazioso. Note again the folk-like character of

the vocal line.

‘The instrumental duet that opens the second part, after

a slow recitative-like introduction, continues as a gigue

quickly rushing past and conjuring up the image of per-

petual motion. Expressively, “Der Abend” is the climax of

the work. It is practically an unaccompanied vocal solo,

extremely free in tonality and answered only by a simple

chromatic figure of the oboe. “Der Wurm am Meer” is the

only tutti movement in the entire cantata, It takes over the

quick gigue of the two muted string instruments without

a change and superimposes new melodic lines of the voice

and oboe. Having reached its expressive climax in the pre-

ceding movement, the work now attains its (modest)

climax in sound.

The third part begins with a peaceful instrumental trio

in a mood preparing for the touching repose of the final

movement. Here the plain folk melody of the soprano is

accompanied only by the soft murmur of the viola. The

work was first performed in Winterthur on April 15, 1925,

by Gertrud Hindemith to whom it is dedicated.

Four MoTETS FoR VOICE AND PIANO

Within Hindemith’s vocal production, the cycle of

thirteen motets for soprano (or tenor) and piano forms a

sort of late counterpart to the masterpiece of his early years,

the “Marienleben,” the revision of which was undertaken

during the period between the two groups of this series of

motets. Where Hindemith in the earlier cycle had sung of

the life of the Virgin Mary (after Rilke’s poems), he now

creates, in free and random sequence, a series of songs deal-

ing with the life of Christ. The thirteen motets do not form

a continuous cycle, Neither the order of composition nor

the numbering determined by the coonpoees for the publi-

cation correspond to the chronology of the life of Christ.

Besides, it is entirely possible that Hindemith might have

continued the series had he lived longer.

Four of the motets were written in the United States

during the war: No. 8 (1941), No. 13 (1943), Nos. 2

and 11 (1944). The remaining nine motets followed after

a long interval and were composed between 1958 and 1960.

All the texts were taken from the Gospels in the Latin

Bible: Matthew (Nos. 3, 5, 7, 8, 12, 13), Luke (Nos. 1, 2,

6, 9) and John (Nos. 4, 10, 11). From these thirteen

motets, we have selected for our recording Nos. 1, 2, 9

and 11.

No. 1 (1960), Exiit edictum, tells the story of the birth

of Christ according to Luke as far as Gloria in excelsis

(Luke 2, 1-14). No. 2 (1944), Pastores loquebantur,

follows immediately, telling of the visit of the shepherds

to the manger (Luke 2, 15-20). No. 9 (1959), Cum factus

esset Jesus, relates the presence of twelve-year old Jesus in

the Temple where his wisdom draws admiration and where

his parents are looking for him (Luke 2, 42-52). The plain

narration is interrupted only by the unaccompanied recita-

tive of Jesus. And finally No. 11 (1944), Nuptiae factae

sunt, tells of the miracle of the wedding at Cana where

Jesus changed water into wine (John 2, 1-11). All four

motets show the finest features of Hindemith’s maturity.

HARRY HALBREICH

(Translated from the German by Herman Adler)

Table of Contents of the Series

Volume I — OR H-289 Volume IV — OR H-292 Volume VII — OR H-295

Clarinet Quintet, Op. 30 (1923) Sonata for Clarinet and Piano (1939) String Quartet No. 6 (1945)

Quartet (1938) Sonata for Oboe and Piano (1938) Sonata for Double-Bass and Piano (1949)

for Clarinet, Violin, Cello and Piano Sonata for Bassoon and Piano (1938) Sonata No. 2 for Cello and Piano (1948)

Volume II — OR H-290 Volume V — OR H.293 Volume VIII — OR H.296

Sonata for Horn and Piano (1939) Die Serenaden, Op. 35 (1925) Sonata for English Horn and Piano (1941)

Sonata for Trombone and Piano (1941) 4 Motets for Soprano and Piano (1944/1960) Sonata for Alto Saxophone and Piano (1943)

Sonata for Bass Tuba and Piano (1955) ” Sonata for Flute and Piano (1936)

Sonata for Trumpet and Piano (1939) Volume VI — OR H-294 Volume IX — OR H-297

Volume II — OR H-291 Sonata No. 2 for Viola and Piano (1939) String Trio No. 1, Op. 34 (1924)

3 Piano Sonatas (1936) Sonata for Unaccompanied Viola, Op. 11, No. 5 (1919) String Quartet No. 2 in C major, Op. 16 (1921)

Stereo recoras may be played on modern mono equipment.

Ib is advisable t0 wipe record with antistatic dust cloth before playing.

Timings:

Sidel: 5:46 - 6:55 - 6:30 / 19:17

Smee ss Fgh ylas Sd8 J 5s the musical heritage society inc.

Editions: B. Schott’s Séhne, Mainz ‘1991 BRoadWay, new york, Nn. y. 10023

Library of Congress Catalog Card No. 76-751476