LXX. HINDEMITH, Paul: Kammermusik #4 for Violin and Large Chamber Orchestra, Op. 36/3

LXX. HINDEMITH, Paul (1895-1963)

Kammermusik #4 for violin and large chamber orchestra, Op. 36/3 (1925)
1. Signal: Breite, majestätische Halbe (broad majestic half-notes)
2. Sehr lebhaft (very lively)
3. Nachtstück: Mäßig sschnelle Achtel (nocturne: moderately fast eighth-notes)
4. Lebhafte Viertel (lively quarter notes)
5. So schnell wie möglich (as fast as possible)
Frankfurt Radio Symphony
Frank Peter Zimmermann, violin
Andrés Orozco-Estrada, cond.
(22:16)

As a generalization, in the early part of the 20th century, composers were either serialists (Schoenberg, Webern, Berg) or Late Romanticists (Mahler).

Hindemith set out on his own path. The term Neue Sachlichkeit (new objectivity) became applied to his work, perhaps reflecting the way he injected a sort of neo-Bachian spirit which one could use to describe his many "Kammermusik" concerti.

He employs both the highest and lowest extremes of the orchestra here, yet -- of course -- the violin can always be heard perfectly.

The Nazis couldn't decide if his music was degenerate or not. He was "honored" with the Entartete Musik (Degenerate Music) exhibition in Düsseldorf in 1938; other high officials of the party, however, thought that "he might provide Germany with an example of a great modern composer."

In any case -- with a half-Jewish wife -- he moved to Switzerland that same year.

Two years later, to the U.S., where he taught at Yale.