New Publication: Hindemith-Jahrbuch / Annales Hindemith 2022/LI
Soon after the beginning of his cooperation with the Schott publishing house, Hindemith presented the publishing directors Ludwig and Willy Strecker with a problem concerning his Drei Hymnen von Walt Whitman für Bariton und Klavier op. 14 which he composed and submitted for approval in 1919. The Streckers detected a new radical style in this new work by the young composer which altered his previously highly praised individual voice. On the other hand, this setting of poems by Whitman clearly demonstrated Hindemith’s great sensitivity in approaching multiple inherent textual levels. Mirjam Kehrberger provides a detailed and contextual investigation of these songs which were significant for the early development of Hindemith as a composer. Malte Waag and Hilco Elshout have devoted themselves to a topic which has already spawned numerous studies in Hindemith-related research: the nature of the composer’s encounter with political constellations during the Nazi era and its reflection in his compositional output. Malte Waag sheds light on the protracted discussions and confusion surrounding the performance of the opera Mathis der Maler while Hilco Elshout engages in a methodical approach based on the concept of "cultural memory” as formulated by Aleida and Jan Assmann. Alongside the Mathis-Symphonie, Elshout’s research is also focused on the Trumpet Sonata and the Flieder-Requiem. This year’s yearbook is rounded off by a conversation dating from 2004 between Stefan Fricke and Hans Otte, pianist and student of Hindemith at Yale University.
We offer our sincere thanks to the Strecker Foundation for their generous financial support for the publication.