Kammermusik (Hindemith)

Kammermusik (Chamber Music) is the name given to a series of eight compositions by Paul Hindemith.

Written between 1921 and 1927, the first two works (Kammermusik No. 1 and Kleine Kammermusik — Little Chamber Music) are for small ensembles (12 piece and wind quintet respectively), and share the opus number 24. Kammermusik No. 2 to Kammermusik No. 5 (Opus 36) are for larger ensembles and are concertos. The final two works form Opus 46.

As Calum MacDonald notes, the majority of the works are not 'chamber music' in the traditional sense of the word, as they require larger forces than normally understood by the term. Indeed, six are effectively concertos (Hindemith's subtitles say as much). However, in contrast to the much larger forces (and sounds) Hindemith previously employed, the works are very much chamber-styled if not truly chamber works.[1]

The works

Kammermusik No. 1, op. 24 no. 1 (1922) for flute, clarinet, bassoon, trumpet, harmonium, piano, string quintet and percussion

  • I. Sehr schnell und wild
  • II. Mäßig schnell Halbe
  • III. Quartett: Sehr langsam und mit Ausdruck
  • IV. Finale 1921: Lebhaft

Kleine Kammermusik, op. 24 no. 2 (1922) for wind quintet

  • I. Lustig. Mäßig schnell Viertel
  • II. Walzer: Durchweg sehr leise
  • III. Ruhig und einfach
  • IV. Schnelle Viertel
  • V. Sehr lebhaft

Kammermusik No. 2, op. 36 no. 1 (1924), for piano and 12 instruments 'Piano Concerto'

  • I. Sehr lebhafte Achtel
  • II. Sehr langsame Achtel
  • III. Kleines Potpourri: Sehr lebhafte Viertel
  • IV. Finale: Schnelle Viertel

Kammermusik No. 3, op. 36 no. 2 (1925), 'Cello Concerto'

  • I. Majestätisch und stark. Mäßig schnelle Achtel
  • II. Lebhaft und lustig
  • III. Sehr ruhige und gemessen schreitende Viertel
  • IV. Mäßig bewegte Halbe. Munter, aber immer gemächlich.

Kammermusik No. 4, op. 36 no. 3 (1925), 'Violin Concerto'

  • I. Signal: Breite, majestätische Halbe
  • II. Sehr lebhaft
  • III. Nachtstück: Mäßig schnelle Achtel
  • IV. Lebhafte Viertel –
  • V. So schnell wie möglich

Kammermusik No. 5, op. 36 no. 4 (1925), 'Viola Concerto'

  • I. Schnelle Halbe
  • II. Langsam
  • III. Mäßig schnell
  • IV. Variante eines Militärmarsches

Kammermusik No. 6, op. 46 no. 1 (1927), 'Concerto for viola d'amore and chamber orchestra'

  • I. Mäßig schnell, majestätisch –
  • II. Langsam –
  • III. Variationen –
  • IV. Lebhaft, wie früher –

Kammermusik No. 7, op. 46 no. 2 (1927), 'Concerto for organ and chamber orchestra'

  • I. Nicht zu schnell
  • II. Sehr langsam und ganz ruhig
  • III. [Achtel bis 184]
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gollark: ```rustuse std::collections::HashMap;use serde_cbor::Value;use chrono;use std::collections::HashSet;use actix::prelude::*;#[derive(Serialize, Deserialize, Debug, PartialEq, Eq, Hash, Clone)]#[serde(untagged)]pub enum Channel { Numeric(i64), Named(String)}#[derive(Serialize, Deserialize, Debug, Clone, Message)]pub struct RawMsg { pub channel: Channel, #[serde(flatten)] pub meta: HashMap<String, Value>, pub message: Value}#[derive(Serialize, Deserialize, Debug, Clone, Message)]pub struct Msg { pub channel: Channel, #[serde(flatten)] pub meta: HashMap<String, Value>, pub message: Value, pub timestamp: chrono::DateTime<chrono::Utc>}pub fn complete(raw: RawMsg) -> Msg { Msg { channel: raw.channel, meta: raw.meta, timestamp: chrono::Utc::now(), message: raw.message }}#[derive(Serialize, Deserialize, Debug)]#[serde(rename_all = "snake_case")]pub enum MessageFromClient { Open(Channel), Close(Channel), Message(RawMsg), Query}#[derive(Serialize)]#[serde(rename_all = "snake_case")]pub enum MessageToClient<'a> { Message(Msg), QueryResult { channels: &'a HashSet<Channel> }}```Skynet!

References
  1. MacDonald, Calum, liner notes to complete Kammermusik recording by the Royal Concertgebouw Orchestra under Riccardo Chailly, 2-CD set, Decca 433816-2 (1992).

Further reading
  • Haack, Helmut. 1977. "Die Doppelbedeutung des Terminus Kammermusik bei Hindemith". In Colloquium Musica cameralis Brno 1971, edited by Rudolf Pečman, 231–37. Colloquia on the History and Theory of Music at the International Music Festival in Brno, No. 6. Brno: Mezinárodní Hudební Festival.
  • Heidenreich, Achim. 1999. "Zur Entstehung von Paul Hindemiths Kammermusiken Nr. 1–7". In Paul Hindemith: Komponist zwischen Tradition und Avantgarde—10 Studien edited by Norbert Bolin, 64–72. Kölner Schriften zur neuen Musik 7. Mainz: Schott Musik International. ISBN 3-7957-1896-1.
  • Kohlhase, Hans. 1983. "Aussermusikalische Tendenzen im Frühschaffen Paul Hindemiths: Versuch über die Kammermusik Nr. 1 mit Finale 1921". Hamburger Jahrbuch für Musikwissenschaft 6:183–223.
  • Motte, Diether de la. 1977. "Paul Hindemith neu gehört". Hindemith-Jahrbuch/Annales Hindemith 6.
  • Rexroth, Dieter. 1977. "Zu den 'Kammermusiken' von Paul Hindemith". Hindemith-Jahrbuch/Annales Hindemith 6:47–64.
  • Schaal, Susanne. 1996. "Paul Hindemith: Kammermusik Nr. 5 for Viola and Chamber Orchestra, Op. 36, No. 4, 1927". In Canto d'amore: Classicism in Modern Art and Music, 1914–1935, edited by Ulrich Mosch, Gottfried Boehm, and Katharina Schmidt, 343–45. Basel: Paul Sacher Stiftung. ISBN 9781858940359.
  • Unverricht, Hubert. 1983. Kammermusik im 20. Jahrhundert. Zum Bedeutungswandel des Begriffs. Munich: Minerva.
  • Wolff, Hellmuth Christian. 1977. "Die Kammermusik Paul Hindemiths". In Colloquium Musica cameralis Brno 1971, edited by Rudolf Pečman, 435–46. Colloquia on the History and Theory of Music at the International Music Festival in Brno, No. 6. Brno: Mezinárodní Hudební Festival.
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