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Dietrich Fischer-Dieskau Im Gespräch Hindemith Und Das Lied

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Dietrich Fischer-Dieskau Im Gespräch Hindemith Und Das Lied 52002 Hindemith und das Lied and the Lied · et le lied Dietrich Fischer-Dieskau im Gespräch Interview · Entretien INHALT · CONTENTS · SOMMAIRE IN VIERERREIHEN DURCH DIE DEUTSCHE LYRIK · Impressum · Imprint · Impressum Hindemiths Klavierlieder 3 M IN GROUPS OF Hindemith-Forum Mitteilungen der Hindemith-Stiftung/Bulletin FOUR THROUGH GERMAN POETRY · Hindemith’s of the Hindemith Foundation/Publication de la Fondation Hindemith M Heft 5/Number 5/Cahier no 5 Lieder With Piano Accompaniment 4 QUATRE À © Hindemith-Institut, Frankfurt am Main 2002 QUATRE AU TRAVERS DE LA POESIE ALLEMANDE · Redaktion/Editor/Rédaction: Heinz-Jürgen Winkler Les lieder avec piano de Hindemith 5 Beiträge/Contributors/Articles de: Ann-Katrin Heimer (AKH), Giselher M Schubert (GS), Heinz-Jürgen Winkler (HJW) Ausgaben seiner Klavierlieder 6 Editions of His Redaktionsschluß/Copy deadline/ M Etat des informations: 15. Mai 2002 Songs with Piano Accompaniment 6 Éditions de Hindemith-Institut Eschersheimer Landstr. 29-39 ses lieder avec piano 6 60322 Frankfurt am Main Tel.: ++49-69-5970362 Interview mit Dietrich Fischer-Dieskau 7 M Fax: ++49-69-5963104 e-mail: [email protected] Interview with Dietrich Fischer-Dieskau 10 M internet: www.hindemith.org Gestaltung/Design/Graphisme: Entretien avec Dietrich Fischer-Dieskau 11 Stefan Weis, Mainz Herstellung und Druck/Production and printing/ Réalisation et impression: Die Sopranistin Ruth Ziesak 12 M The Sopranist Schott Musik International, Mainz M Übersetzung engl./English translation/ Ruth Ziesak 14 La soprano Ruth Ziesak 15 Traduction anglaise: David Babcock Übersetzung frz./French translation/ Der Pianist Axel Bauni 16 M The Pianist Traduction française: Jacques Lasserre Bearbeitung/Adaptation: François Margot Axel Bauni 17 M Le pianiste Axel Bauni 18 Bildnachweise/Picture credits/Illustrations: Axel Bauni, Hindemith-Institut, Monika Rittershaus, Archiv der Salzburger Festspiele, FRANKFURTER STUDIEN – Veröffentlichungen des Ellinger Hindemith-Institutes 20 M FRANKFURT STUDIES – Printed in Germany Publications of the Hindemith Institute 20 M LES Umschlag: Autograph und Druck von Hindemiths Lied „On arrange et on compose“ auf einen Text von Rainer FRANKFURTER STUDIEN – publications de l’Insti- Maria Rilke aus dem Jahre 1942 sowie der Text mit Notenwerten aus dem Gesangsstudienbuch Gertrud tut Hindemith 20 Hindemiths / Cover: Autograph manuscript and print of Hindemith’s Lied “On arrange et on compose“ to a Forum 22 text by Rainer Maria Rilke from the year 1942 as well as the text with note values from Gertrud Hindemith’s M M song study book / Couverture: partitions autographe CD Neuerscheinungen 24 CD new releases 24 et imprimée du lied de Hindemith «On arrange et on compose», écrit sur un texte de Rainer Maria Rilke de Nouveaux enregistrements CD 24 1942, et le même texte annoté de valeurs de notes dans le cahier d’études de chant de Gertrud Hindemith Hindemith-Forum 5/2002 IN VIERERREIHEN DURCH DIE DEUTSCHE LYRIK IN GROUPS OF FOUR THROUGH GERMAN POETRY · QUATRE À QUATRE AU TRAVERS DE LA POÉSIE ALLEMANDE Frau Gertrud eine ausgebildete Sängerin Früher konnte ich nicht so schreiben, HINDEMITHS als kongeniale Partnerin. So verwundert weil ich technisch (und menschlich) noch KLAVIERLIEDER es nicht, daß Liedvertonungen in seinem zu unentwickelt war. […] In den Whit- Schaffen eine nicht unerhebliche Rolle man-Hymnen [Drei Hymnen nach Walt Das Singen spielt in Hindemiths Musik- spielen. Diese Rolle ist um so bemer- Whitman für Bariton und Klavier, op. 14] anschauung eine wichtige Rolle: Im Un- kenswerter, als Hindemith mit dieser Gat- ist mir dann fast gelungen, das festzu- terricht hält er seine Schüler an, ihre Ton- tung offensichtlich ganz besondere kom- halten, was mir von jeher durch den sätze zu singen, das von Franz Magnus positorische und moralische Verpflichtun- Schädel gegangen ist. Aber sie hängen Böhme herausgegebene „Altdeutsche gen verbindet. Besonders deutlich wird doch noch reichlich an allen möglichen Liederbuch“ ist eine wichtige Quelle für dies in einigen seiner Bemerkungen zu Altertümlichkeiten. […] Viel besser sind seine Kompositionen und beim eigenen den Liedern: Am 9. April 1920 etwa dann eine Reihe Klavierstücke geworden häuslichen Musizieren hat er spätestens schreibt Hindemith an seine Verleger: und in meinem neuen Quartett und vor seit der Heirat im Jahre 1924 mit seiner allem in den neuen Liedern [gemeint sind die 8 Lieder mit Klavier, op. 18] ist mir zum ersten Mal gelungen, was ich schon immer wollte, aber nicht konnte. Taucht hier bereits die Verbindung ei- nes menschlichen und kompositorischen Reifeprozesses auf, der sich offenbar ge- rade auch in Liedkompositionen ent- wickeln konnte, so wird dies in den 15 Liedern des 1922/1923 entstandenen Marienlebens, dem wohl bedeutendsten Liederzyklus des 20. Jahrhunderts, noch deutlicher: Schon die Bemerkung Das war nicht leicht zu machen, die Hinde- mith in seinem Werkverzeichnis notiert, deutet bei einem Komponisten, der schon mal eine Solo-Bratschensonate im Zug komponiert, um sie am Abend urauf- zuführen, daraufhin, daß dieses Werk er- neut eine wichtige Wendemarke in sei- nem Schaffen markiert. Diese Vermutung bestätigt auch das Vorwort der 1948 ver- öffentlichten 2. Fassung dieses Zyklus, die als klingendes Beispiel für seine Unter- weisung im Tonsatz dienen sollte. Dort schreibt er über die 1. Fassung: Der star- ke Eindruck, den schon die erste Auf- führung auf die Zuhörer machte – erwar- tet hatte ich gar nichts -, brachte mir zum ersten Male in meinem Musikerdasein die ethische Notwendigkeiten der Musik und die moralischen Verpflichtungen des Musikers zum Bewußtsein. Auf einen besonderen Prüfstand gera- ten diese „moralischen Verpflichtungen des Musikers“ in den dreißiger Jahren, in denen sich Hindemith intensiv mit der Frage auseinanderzusetzen hat, ob ein Künstler unbeeindruckt von den politi- schen Ereignissen um ihn herum schaffen könne oder ob er eine Verpflichtung habe, die Kunst zu Gunsten des politi- schen Engagements aufzugeben bzw. in dessen Dienst zu stellen. Die Antwort auf diese Frage thematisiert Hindemith einer- seits in seiner Oper Mathis der Maler und Maschinenschriftliche Fassung des Vorworts zur zweiten Ausgabe (1948) des Marienlebens mit Zeichnung Paul entscheidet sie andererseits für sich selbst Hindemiths/Typed version of the foreword to the second version (1948) of Das Marienleben with a drawing by mittels der Emigration. Zugleich ist es Paul Hindemith /Préface de la deuxième version (1948) de Das Marienleben, avec un dessin de Paul Hindemith wieder die Gattung Lied, der sich der Hindemith-Forum 5/2002 3 Komponist in dieser schwierigen Zeit year of his marriage. It is (und nach langer Pause) zuwendet. An- therefore no wonder that fang 1933 schreibt er an seinen Verleger: songs, the setting of Ich habe erst mal zur Übung (weil ich so texts, play a not inconsid- lange nichts geschrieben habe) ange- erable role in his pro- fangen, leichte Sopranlieder mit Klavier duction. This role is all nach Prosatexten von Matthias Claudius the more remarkable for zu schreiben, die hauptsächlich der the fact that Hindemith Nichtberufssänger daheim singen kann. obviously associated very Und wenig später: Und schließlich special compositional habe ich eine ganze Reihe Lieder in An- and moral obligations griff genommen. 4 von Claudius, 4 von with this genre. This be- Rückert sind schon da – es soll in Vierer- comes especially clear in reihen durch die deutsche Lyrik gehen. some of his comments Den genannten Dichtern folgen noch on the Lieder: on 9 April Vertonungen von Hölderlin, Brentano, 1920, for example, Hin- Novalis sowie Angelus Silesius u.a. Es demith wrote to his pub- scheint fast so, als wolle Hindemith in lisher: dieser bewußten Hinwendung zur „klassi- Earlier I could not schen“ deutschen Dichtung (nachdem er write that way because I zuvor größtenteils zeitgenössische Texte was still too technically gewählt hatte) einen Gegenakzent zum (and humanly) un- Deutschland der dreißiger Jahre setzen. developed. […] In the Im amerikanischen Exil kommt es Whitman Hymns (Three schließlich zu einem letzten, geradezu Hymns based on Walt eruptiven Ausbruch im Bereich seines Whitman for Baritone Liederschaffens: Allein im Jahre 1942 and Piano, Op. 14) I entstehen innerhalb kürzester Zeit 25 Lie- almost succeeded in pre- der, denen sich bis 1955 noch vereinzelte serving what had been weitere Werke anschließen. Neben deut- going through my head scher Lyrik greift Hindemith nun auch auf since who knows when. englische, französische und lateinische But they still have plenty Programmzettel der Uraufführung von Hindemiths Liedern op. 18/Pro- Texte, wobei es faszinierend zu beobach- of antiquated features. gramme of the world premiere of Hindemith’s Lieder, Op. 18/Programme du ten ist, wie die jeweilige Sprachwahl […] A series of piano concert de la première audition publique des Lieder op. 18 de Hindemith auch den Duktus der einzelnen Verto- pieces turned out much nungen bestimmt. better, and in my new Quartet and as a musician of the ethical necessity of Zusammen mit den 14 Motetten nach especially in the new songs [author’s note: music and the moral obligations of the Bibeltexten, die Hindemith zwischen the composer is referring to the 8 Lieder musician. 1940 und 1961 für Sopran und Klavier with piano, Op. 18] I succeeded for the These “moral obligations of the musi- schreibt, bilden die Lieder ein Werkkor- first time in doing what I had always cian“ were to be put to a special test du- pus, das in seiner Vielfalt leider immer wanted to do, but until then could not. ring the 1930s, when Hindemith intens- noch viel zu wenig auf den Konzertpodi- If the connection between a human ively came to terms with the question of en der Welt beheimatet ist. AKH and a compositional maturation process whether an artist could create without already emerges here, a process that being influenced by the political events could apparently develop in song com- surrounding him, or whether he had an position especially well, then this is even obligation to either give up art in favour clearer in the 15 Lieder of the 1922/1923 of political commitment or to place it at cycle Das Marienleben (The Life of Mary), the service of political commitment.
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