für Klarinette und Streichquartet op. 30 (Erstfassung 1923)
Nach dem Text der Hindemith-Gesamtausgabe herausgegeben von Peter Cahn / Ann-Katrin Heimer
The first version of the Clarinet Quintet, Op. 30 composed in 1923 was not printed during Hindemith's lifetime and only published in 2001 as part of the Hindemith Complete Edition. The score and parts of this refreshing work, based on the musical text of the Complete Edition, are now available as a separate edition.
Paul Hindemith Complete Edition
Serie V Kammermusik - Bläserkammermusik III
Band V, 3 PHA 503
Herausgegeben von Luitgard Schader im Auftrag der Fondation Hindemith, 2013
- Sonate für Flöte und Klavier
- Echo for Flute and Piano
- Sonate für Oboe und Klavier
- Sonata for English Horn and Piano
- Sonate in B für Klarinette und Klavier
- Sonate für Fagott und Klavier
- Sonate für Horn und Klavier
- Sonate für Althorn und Klavier
- Sonate für Trompete und Klavier
- Sonata for Trombone and Piano
- Sonate für Basstuba und Klavier
- Fragment einer Sonate für Posaune und Klavier
This recently issued volume of the Hindemith Complete Edition contains all the sonatas for a wind instrument with piano accompaniment and Hindemith's adaptation of the song with piano accompaniment "Echo" in a version for flute and piano. The fragment of a sonata for trombone and piano begun by Hindemith in 1939 whilst in Swiss exile is published as a facsimile. These works were composed between 1936 and 1955 and are part of the second series of sonatas by the composer.
Facsimiles of discarded portions of the Sonata for Horn and Piano and sketches of drafts for the Sonatas for Trumpet and Piano and for Tuba and Piano document the compositional process of the works and complete the description, offered by the introduction, of the compositions' history of genesis and reception.
On 20 November 1939 Hindemith described to his publisher Willy Strecker his intentions, which he pursued by composing this series: "You will be surprised to learn that I am writing sonatas for all the wind instruments. I had always intended to make an entire series of these pieces. Firstly, there is nothing decent for these instruments, except for a few classical things; it is therefore not meritorious to enrich this literature from the standpoint of current business, but over the long term. And secondly, since I have become so interested in the wind instruments, I have great enthusiasm for these pieces and, finally, they serve me well as a technical exercise for the "big splash" that can hopefully be begun with the "Harmony of the World" (the Kepler title will be this or something similar) in the spring."