DCCLXIII. HINDEMITH, Paul: Concerto for Orchestra, Op. 38

DCCLXIII. HINDEMITH, Paul (1895-1963)

Concerto for Orchestral, Op. 38 (1925)
1. Mit Kraft, mässig schnelle Viertel
2. Sehr Schnelle Halbe
3. Marsch für Holzbläser. Nicht zu langsame Viertel
4. Basso Ostinato. Schnelle Viertel
Chicago Symphony Orchestra
Neeme Järvi, cond.
(12:37)

Most likely the first composer to attach the contradictory title to a work for full orchestra. Although not as well-known as the Bartók, this piece is a rigorous and exciting workout for the entire orchestra -- and the descriptive title indicative of all the future CFOs.

1. Mit Kraft, mässig schnelle Viertel

In a stately 6/4, just strings and flute spin out phrases (lots of fourths and fifths!) with Bach-like part-writing.

Suddenly, the orchestra is reduced to a trio -- an oboe, bassoon and solo violin. The violin spins out a 16th-note flow, while the two winds play a canonic duet:

Hindemith alternates these two sections, until we attacca to:

2. Sehr Schnelle Halbe

A fast 1/8-note rhythm in the upper strings, accompanied by a bumpy 1/4-note rhythm in the lower strings and bassoon, eventually adding a piccolo ...

Similar to the first movement, Hindemith re-introduces a chamber-music type section for flute, clarinet, bassoon, and a few stands of strings, which gradually thickens into a denser sonic palette.

This rollicking strings-only section sets up something new:

as the lower winds and tuba enter with a legato theme:

3. Marsch für Holzbläser. Nicht zu langsame Viertel

The low winds begin a passacaglia-like unison, and the higher winds join in with a quirky, squiggly theme:

A big unison leads into the fourth movement:

4. Basso Ostinato. Schnelle Viertel

Over the ostinato, a trumpet and clarinet play a skipping, canonic duet ...

A small drum on off-beats crescendos into a big tutti, with percussion stabs:

A tremendous tutti ends the concerto: