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32001 Hindemiths Violinsonaten Hindemith’s Violin Sonatas Les sonates pour violon de Hindemith … leidlich dressierter Podiumshengst … A Passably Trained Podium-Horse … un cheval de cirque dressé cahin-caha Christian Tetzlaff im Gespräch Interview with Christian Tetzlaff Entretien avec Christian Tetzlaff Forum INHALT · CONTENTS · SOMMAIRE … stets wild, ungebändigt · Hindemiths Violin- sonaten 3 M … wild throughout, untamed · Hindemith’s Violin Sonatas 3 M … d'un caractère toujours sauvage et emporté · Les sonates pour violon de Hindemith 4 Impressum · Imprint · Impressum Hindemith-Forum Mitteilungen der Hindemith-Stiftung/Bulletin … leidlich dressierter Podiumshengst · Paul of the Hindemith Foundation/Publication de la Fondation Hindemith M o Hindemith als Geiger 5 ... A Passably Trained Heft 3/Number 3/Cahier n 3 M © Hindemith-Institut, Frankfurt am Main 2001 Podium-Horse · Paul Hindemith the Violinist 6 Redaktion/Editor/Rédaction: Heinz-Jürgen Winkler ... un cheval de cirque dressé cahin-caha · Hinde- Beiträge/Contributors/Articles de: Samuel Dähler (SD), Hans-Dieter Resch (HDR), mith violoniste 7 Susanne Schaal-Gotthardt (SSG), Giselher Schubert (GS), Heinz-Jürgen Winkler (HJW) Christian Tetzlaff im Gespräch 8 M Redaktionsschluß/Copy deadline/ Etat des informations: 15. Mai 2001 Interview with Christian Tetzlaff 10 M Hindemith-Institut Eschersheimer Landstr. 29-39 Entretien avec Christian Tetzlaff 12 60322 Frankfurt am Main Tel.: ++49-69-5970362 M Fax: ++49-69-5963104 Discographie: Hindemiths Violinsonaten 14 e-mail: [email protected] M internet: www.hindemith.org Discographie: Hindemith’s Violin Sonatas 14 Gestaltung/Design/Graphisme: Stefan Weis, Mainz Discographie: Les sonates pour violon de Hindemith 14 Herstellung und Druck/Production and printing/ Réalisation et impression: Hindemith-Musikzentrum Blonay 16 M Hindemith Schott Musik International, Mainz Übersetzung engl./English translation/ Music Centre Blonay 16 M Centre de musique Hin- Traduction anglaise: David Babcock Übersetzung frz./French translation/ demith à Blonay 16 M Berichte 18 M Reports 18 M Traduction française: Jacques Lasserre; M Bearbeitung/Adaptation: François Margot Reportages 18 Bildnachweise/Picture credits/Illustrations: Hans-Dieter Resch, Hindemith-Institut, Giselher Schubert, Konzertdirektion Hans Forum 22 Ulrich Schmid, Foto-Keim Titelfoto/Cover/Illustrations de la page de CD Neuerscheinungen 24 M CD new releases 24 M couverture: Stefan Weis, Mainz Nouveautés sur CD 24 Printed in Germany Hindemith-Forum 3/2001 ... STETS WILD, UNGEBÄNDIGT ... WILD THROUGHOUT, UNTAMED · ... D'UN CARACTÈRE TOUJOURS SAUVAGE ET EMPORTÉ HINDEMITHS pelbegabung als Interpret und Kompo- augenblicklichen Geschäftsstandpunkt, nist. Deutlich spiegelt sich in diesen jedoch auf weite Sicht verdienstlich, die- VIOLINSONATEN Kompositionen die musikalische Sponta- se Literatur zu bereichern. Und zweitens neität wider, die zu den Markenzeichen habe ich, nachdem ich mich schon mal Mit der Hinwendung zu Solosonaten bzw. Hindemiths in dieser Zeit gehört. Be- so ausgiebig für die Bläserei interessiere, klavierbegleiteten Sonaten distanziert sich rühmt sind der Variationssatz aus op. 31 große Lust an diesen Stücken, und Hindemith bewußt von spätromantischen Nr. 2, basierend auf dem Lied „Komm, schließlich dienen sie mir als technische Gattungstraditionen und knüpft an histo- lieber Mai“ von Mozart, und der Prestissi- Übung für den großen Schlag, der dann rizistische Tendenzen an, die sich an Jo- mo-Schlußsatz mit seinem Perpetuum mit der „Harmonie der Welt” (so oder hann Sebastian Bach orientieren und sich mobile-Charakter. ähnlich wird der Kepler-Titel lauten) hof- exemplarisch in den Werken Max Regers Die beiden Violinsonaten aus den Jah- fentlich im Frühjahr in Angriff genom- manifestieren. In zwei Abschnitten seiner ren 1935 und 1939 entstehen in politisch men werden. HJW Komponistenlaufbahn widmet sich Hin- brisanten Zeiten. Zeiten, in denen Hinde- demith intensiv diesen Gattungen der mith sich seiner ästhetischen Vorstellun- Kammermusik, freilich unter gänzlich ver- gen versichert und diese in seiner Schrift schiedenen Vorzeichen: Die zwischen den Unterweisung im Tonsatz formuliert. Jahren 1917 und 1924 entstandenen Die 1935 entstandene Sonate in E für HINDEMITH'S Werke dokumentieren das Selbstbewußt- Violine und Klavier eröffnet eine Reihe sein des angehenden Komponisten und von Sonaten, die einen neuen, geklärten VIOLIN SONATAS sind nach eigenem Bekunden Experimen- Stil repräsentieren und nicht mehr – wie te, um die Ausdrucksmöglichkeiten zu die Werke aus der Jugendzeit – gegen die In turning to solo sonatas and sonatas erweitern und dem Horizont entgegen- „Weltanschauungsmusik“ der Jahrhun- with piano accompaniment, Hindemith zutreiben. Die elf Jahre später entstande- dertwende kämpferisch aufbegehren. consciously distanced himself from late- nen Werke dienen dazu, seine neu formu- Neben den Sonaten für Streicher und Romantic genre traditions, allying himself lierten theoretischen Ideen in den vielfäl- Klavier komponiert Hindemith auch sol- to historicizing traditions orientated to- tigsten Besetzungen auch ästhetisch zu che für sämtliche gängigen Orchesterin- wards Johann Sebastian Bach and exem- dokumentieren. strumente und Piano. plarily manifested in the works of Max Noch ohne Gedanken an eine Reihe Im Gegensatz zu früheren Sonaten mit Reger. Hindemith intensively dedicated von Sonaten schreibt er im Jahre 1917 zweisätziger Anlage – etwa op. 11 Nr. 1 – himself to these genres of chamber eine Soloviolinsonate in g-Moll, deren sti- sind die beiden Teile der E-Dur-Sonate music during two stages of his composi- listische Anlehnung an die Solosonaten durch rhythmische Analogien und ver- tional career, under thoroughly different und -partiten Bachs deutlich spürbar ist. wandte Melodiezüge miteinander ver- omens, of course. The works written be- Bereits fortschrittlicher in der Anlage und knüpft. Auch für Hindemiths Existenz tween 1917 and 1924 document the self- im melodischen Tonfall abstrakter prä- spielt dieses Werk eine wichtige Rolle: assurance of the budding composer and sentiert sich die ein Jahr später während Nach einer das Publikum begeisternden serve, according to his own declaration, Hindemiths Kriegsdienst entstandene Aufführung der Sonate im Jahre 1936 as experiments in order to expand the Sonate für Violine und Klavier in Es-Dur durch den Geiger Georg Kulenkampff er- possibilities of expression and to cultivate op. 11 Nr. 1, ohne auf traditionelle The- folgt das offizielle Verbot von Aufführun- and push them as far as possible. The menkontraste zu verzichten. Sie gehört in gen Hindemithscher Werke. Diese De- works written eleven years later serve to den Jahren um 1920 zu Hindemiths po- nunziation seitens des NS-Regimes be- aesthetically document his newly formu- pulärsten und am häufigsten aufgeführ- stärkt ihn in seiner Entscheidung, als per- lated theoretical ideas in the most widely- ten Werken. Energisch zupackend und sona non grata Deutschland endgültig ranging ensemble combinations. mit vollgriffigem Klaviersatz, knüpft der den Rücken zu kehren. He wrote a Sonata for Solo Violin in G Kopfsatz der Sonate für Violine und Weniger kantabel und teilweise minor in 1917 without yet having a series Klavier D-Dur op. 11 Nr. 2 an Regerschen schroff zerklüftet zeigt sich die vier Jahre of sonatas in mind. Its stylistic depend- Tonfall an. Im Kontrast hierzu der zweite später entstandene Sonate in C-Dur, die ence on the solo sonatas and partitas of Teil, in dem selbständige Stimmen mit- im Finale in einer anspruchsvollen Tripel- Bach can be clearly sensed. The Sonata einander verknüpft werden und damit fuge endet und in der die Vielfalt der for Violin and Piano in E-flat major, Ansätze späterer Kompositionsstrategien satztechnischen Mittel auf den Ludus Op. 11 No. 1, written a year later during offenbart werden. tonalis vorausweist. Hindemith's military service during the Während viele Bratschenwerke zum Die Bedeutung dieser mit der E-Dur- war, is already more advanced in design eigenen Gebrauch als Solist entstanden Violinsonate beginnenden Sonatenreihe and more abstract in its melodic lan- sind, widmet Hindemith die beiden 1924 für sein eigenes Schaffen zeigt sich in ei- guage without renouncing traditional entstandenen Violinsolosonaten op. 31 nem Brief an seinen Verleger Willy thematic contrasts. In the years around Nr. 1 und 2 seinen Quartett-Kollegen Licco Strecker: Du wirst Dich wundern, daß ich 1920 it belonged to Hindemith's most Amar und Walter Caspar. Wie viele ande- das ganze Blaszeug besonate. Ich hatte popular and most frequently performed re Kompositionen Hindemiths entstehen schon immer vor, eine ganze Serie dieser works. Energetically gripping and with a auch diese Stücke auf Bahnreisen. Beide Stücke zu machen. Erstens gibt es ja full piano part, the first movement of the Werke dokumentieren Hindemiths Ver- nichts Vernünftiges für diese Instrumen- Sonata for Violin and Piano in D major, trautheit mit dem geigerischen Idiom te, die paar klassischen Sachen aus- Op. 11 No. 2 is related to the melodic und manifestieren eindrücklich die Dop- genommen, es ist also zwar nicht vom language of Reger. The second part forms Hindemith-Forum 3/2001 3 a contrast to this; here, independent wind instruments. I always wanted to LES SONATES POUR voices are connected with each other, create an entire series of these pieces. thus disclosing first signs of later composi- Firstly, there is nothing decent for these VIOLON DE tional strategies. Whilst many viola
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