Paul Hindemith. Minimax (Repertoire for Military Orchestra ‘Minimax'”), parody for string quartet. Composition Information ↓; Parts/Movements ↓; Appears On. Hindemith’s early childhood was influenced by his father’s draconian methods of bringing up [«Minimax», Repertoire for Military Orchestra for String Quartet]. Paul Hindemith, Kurt Weill, Leipziger Streichquartett, Andreas Seidel, Timan Buning, Ivo Bauer, Matthias Moosdorf – Weill: Complete String Quartets; Hindemith.
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The Leipzig Quartet plays beautifully, at times perhaps too beautifully. He wrote it for a private gathering of friends and supporters — a party piece. The most elaborate of the three movements and longer than the other two movements put together, it takes the idea through several different imitative, though not strictly fugal, treatments, song-plus-accompaniment, and rhapsody.
None of the works here typify the maturity of these composers. Some cookies on this site are essential, and the site won’t work as expected without them.
The Hindemith counts as little more than a jape. The rest of it is good student work, but nothing more. There’s also a psychological coolness to it that nevertheless suggests a disturbance beneath the surface.
No other composer of bindemith twentieth century wrote such a comprehensive and versatile oeuvre comprising miinimax usable genres. Significantly, Hindemith never published it and asked that his unpublished works never be played after his death.
It reflects his current studies with Humperdinck. String Quartet String Quartet, Op. Humour, a sense for practical joking and a considerable portion of self-irony marked Hindemith’s character. The first movement, an “Introduction,” foreshadows the “Melodrama” of Die Dreigroschenoper. The urchin had to atone for that the first time until his hibdemith had returned.
Minimax (Repertoire for Military… | Details | AllMusic
Above all, Weill knows how to keep things moving. His use of rhythm in the service of form is nothing less than masterful. However, give them real meat, like Weill’s Op.
One interesting feature, a distinctive rhythm, shows up years later in Dreigroschenoperagain in the “Melodrama. If it is satire, nobody knows its target, and it may well be a Hindemith original. Every movement title puns on something.
Unfortunately, the titles are more interesting than the music itself, which could have been written by any competent composer of the period.
Hindemiith should have destroyed it, rather than rely on good will. Home News Contacts Copyright. Unlike the earlier quartet, the work belongs wholly to its time and shows many influences, hindeimth superficially contradictory: Indeed, before Weill had finished his studies with Busoni, Hindemith was running one of the most important new-music festivals in Europe. If so, I have to say I didn’t know the old man had it in him.
When one goes to a tailor, one doesn’t want a picture or photograph of him, but a well-made suit. Somehow, Weill synthesizes all these strains into something his own. The second movement, a driving scherzo, shows the influence of Mahler in its march trio.
Hindemith’s early childhood was influenced by his father’s draconian methods of bringing up children. This CD presents early work by two of mlnimax most prominent German composers after the war. Weill’s early maturity always astonished me he was born in We also use some non-essential cookies to anonymously track visitors or enhance your experience of the site.
He wrote many of his best-known masterpieces before the age of thirty.
It does nothing for his currently low reputation and isn’t fair to the “real” music he wrote during the same year, like the Fourth String Quartet and Das Marienleben. They don’t seem to understand that Minimax is crude fun.
When I gave away the boy, I had already drilled him quite well in ear training and music, hondemith when I picked him up from school, he was total spoiled.
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Weill: Complete String Quartets; Hindemith: Minimax
Weill’s earlier quartet in b-minor stands firmly in the late Romantic era. It’s not yet the sound we associate with Weill — neither the sour and acid of the European music, nor the bittersweet nostalgia of the American — but it is the work of a great composer-to-be. The finale, “Chorale Fantasia,” takes off on an idea heard near the opening on the cello. Hindemith, about five years older and almost entirely self-taught, had found major success as performer, teacher, and composer.