What is the reason of some laws to be ignored for centuries, after you have enjoyed the month and it was crucial at the time? Author of four seasons of the Italian Antonio Vivaldi, is the case-reduction. Had to wait nearly two centuries, since his death in 1741, replace them in the party between 1933 and 1939 in the Italian town of Rapallo promoted by the poet Ezra Pound. The worst fate befell Georg Philip Telemann (1681-1767), which still even today remains in limbo. A friend of the Bach family and godfather to Carl Philip, the fifth son, was the first to set up public concerts paid in Leipzig and with the Collegium Musicum in 1703. It consists of about 6 thousand works.
Vivaldi and Telemann come to the fore because Marco Aurélio Scarpinella Bueno, stunt respiratory physician and writer passionately devoted to the music of the 20th century, is the release of Paul Hindemith: a musician as a whole. Has presented us with three great books in the last decade: Schnittke: music for all times (Algo, 2009), circles of influence: music in the Soviet Union from the Bolshevik Revolution to the generations after Shostakovich (Algol, 2010), and voices behind the curtain: music of Eastern Europe during the Cold War (Intermeios, 2015).
In a speech earlier books – the relationship between music and Politics, a company employee from saving the composers of that time seem to want to erase – is still more than ever when the topic is Paul Hindemith (1895-1963), the most emblematic case in the 20th century, from the harsh fate after the death of musicians such as Vivaldi and Telemann. To be forced to immigrate to the US already with 2.* World War eating loose, in February 1940, was the decisive factor in the musical life of the Weimar Republic and the Third Reich. In 1920, as a partner Bertolt Brecht and the Lehrstück, or the doctrine and directed the new music festival in Donaueschingen, where he debuted works pilot. Was a close friend of Arnold Schoenberg. It was respeitadíssimo through a series of seven Kammermusik (1921-27), the card is not the declared that next to the avant-garde.
But sin capital, it is not adhered to the primer before the Communist Brecht and his partner Kurt Weill and Hans Eisler. Second Sin City: I tried to 1933, to coexist with the Nazis. And that was with the help of Wilhelm Furtwängler, the holder of the Berlin Philharmonic, who wrote a letter published in the press to defend a friend. But not so, even not being Jewish, was able to absorb things. Newspaper Nazi die Musik preached the province to the implementation of music in occasions “personalized oscillating, as evidenced by the close proximity of these Brecht, The Advocate of Decay”. And your Goebbels angry response by Furtwängler in another publication on the bench by the Reich that led to the symptoms the title ” Der Angriff (the attack): “what progress the glories of the composer’s noisy as Hindemith?” And at the annual meeting for culture of the Reich, he completed the viva voice: “Hindemith is decadent and charlatan, noisy wimp!” Only a wimp, and that’s what it was, my dear Goebbels. Despite official hostility, on the order of the Luftwaffe, the dreaded and Goering (“should not miss the opportunity I will give everything.” he said as a football player in still unforgivable-moral).
But, on the other hand, hit the draft Turkish music in Ankara, Turkey, funded by the Reich. From the logo he came across learning and return to the “music utility” function that is part of the lives of citizens as it did in the 18th century when composers like Bach wrote music in weddings, deaths and religious service in their communities. One of the stories in the more well-known in all parts of the Hindemith I don’t Trauermusik funeral music for viola and strings: he wrote on the night of 20 January 1936 in London, where the concert was when he learned of the death of King George V, at a party the next night, was executed. It was more eloquent than the music utilitarian.
In fact, I have noticed, but this position was the radical avant-garde that condemned to marginalization in the past 55 years that separate us from his death. In a speech in 1930, set against the music of the party in favor of music “educational projects or social proposals, whether dedicated amateurs, children and even radio programs”.
He adds that “recently stopped composing music exclusively for the concert” and a few lines below says that the music concert “is a technical exercise to a large extent for real and has little to do with the development of the music itself”, and then on the music of the concert as “work”, that is, music from the survival status of applications submitted to it the composer most in demand by orchestras in the 1940s in the United States. He writes about his revolutionary ideas: “the ideal that should be applied in musical projects and that I consider essential for the future development of music, cannot be transferred to a concert pure and simple”.
Theme atualíssimo today in the 21st century, when the crowds diminish in the concert halls in the world, and institutions here and abroad, trying everything to bring more people to the concerts – when should the invention. The correct solution, Hindemith was acting in musical training. The only way to change structurally musical life in the country, the formation of the musicians more consistent and, above all, the audience here should music lessons since the first grade classes a decent, professional). So, while the hurricane of Nazism that swept the country, wrote the methods of teaching and gave classes at several universities.
In addition to file lesson, viola, violin, and become virtuous gentleman as a performer, music creator. He also was a pioneer in the practice of music, historically informed, and strengthen the processes of execution of the instruments of the time reference of the pre-baroque and baroque. This is no doubt a more accurate need for the music to resume not only comfort with the like Party of the year, but with the community as a whole. How to write Scarpinella he “insisted on creating music imbued with moral responsibility”.
Responsibility has to do with the music that is understood and well-absorbed by anyone who hears it. As a result, he became convinced that “the darkness is a force of nature like gravity,” as he wrote in his book instruction in music composition, written in 1945 in the United States of America. Two years ago between the two movements of the Sonata for alto saxophone and piano, setting verses of the same symptoms, by determining its position:
Old is not good, for the simple reason of belonging to the past/
The new is nothing more than excellent because we marched with he/
And no one ever felt more happiness/
Of the one in the position of understanding/
It’s up to you to click the wheel, the noise and hustle/
Find and maintain a new/
What is the permanent sound, meaning, structure.
There is a dearth of literature on Hindemith, precisely because of this repression that were – and still are – a victim of the avant-garde musical life in general. No one even touch his work. The other two books mitigation of other aspects of your postura. One of them, 2009, is the Italian musician Marco Moraighi. He suggests that his artistic career of the composer works with the soil in the same rails of writers, painters, sculptors, and musicians, “maybe in a specific function of the inclusiveness of humanity. And it cites the short but essential book Ian Kemp, 1970 another that beckons to be “the work of Hindemith can’t be compared to any musical production knowledge, but has affinities surprising with the work of the French painter Georges Braque”.
In another rare publication, 1996/97, customs special issue of the French magazine Ostinato Rigore memorial of the centenary of the birth of composer Andres Briner, a pupil of Hindemith in Zurich, and who was later chairman of the board of the foundation Hindemith, proposes to mint its concept of musical “accent free”, or “the music is tonal and noticeable, but does not obey more by specific roles (…) Hindemith considered equal temperament eyeliner historic day outdated. Proposed to create more clarity in harmony with the changes the tonic of the work by the temperament of the farmer, the more pure the (…) so he gave her the polyphony formal principle of tonal, on the basis of a scale of twelve sounds of the chromatic, but with the system function.”
This type of movement has angered some Theodor Adorno, The Great home of music from the 20th century: “that the young Hindemith gave the impression of being revolutionary in the fact it can be via the French word ‘rudesse’. His music is characterized by some of the vulgarity photos and create that is not afraid of the ordinary, without the love of detail (…) it was Hindemith who brought this yeast to German music”. Wish Schubert, director of the Institute of Hindemith Frankfurt am main opponent: “in fact, Adorno unfortunately – alien – close to the Nationalist-Socialist when it qualifies as music to ‘non-German'”.
On the contrary, says Jacques Viret from the University of Strasbourg. The King was “the incarnation of historical consciousness in our time”. It was not a classic of opportunistic. His relationship with the past is an essential element of his character. “The principle of tonal can the House Ways and generate other musical language in the classical period and the romantic, the tax of what was called the tone of ‘harmony’. All of your effort, while theory, to fertilize the new eggs within the broad field of darkness”.
All this from the basic principles in a gesture of Marcus Aurelius Scarpinella point in relation to the salvation of Hindemith. Without it, the music of the 20th century is much smaller and less nuanceada more manes.
*João Marcos Coelho is critical ElmoWill and author of the book ‘Thinking in music in the Twenty-First Century’ (ed. Perspective)