Paul Hindemith (1895-1963) is considered to be one of the most important composers of the beginning of the 20th century. In Hindemith, we find an avid performer (on the violin and later the viola) and an equally as passionate composer. This union of composer and performer was fairly unique for his time as it was quite rare that both of his crafts strengthened each other rather than going their separate ways. There were others, like Rebecca Clarke and Eugène Ysaÿe, but it was not the standard like during the Baroque. In this, we can already find a connection to Bach, as they were both expert instrumentalists, with great technical mastery, who composed in all forms, making them all-round musicians. Next to this, it was also rather unusual for a composer to write from a string instrument background rather than starting from the piano.

Hindemith had an extremely busy performance career as a concert master, soloist and chamber musician since the beginning of the 1910’s. In 1919, Hindemith decided to have the viola be his main instrument and put the violin to the side. Through performing both his own and other contemporary works as well as repertoire from J.S. Bach to Max Reger (1873-1916), as violist of the Amar Quartet, Hindemith familiarised himself with music traditions and styles from over the centuries.

Early music was an important influence during Hindemith’s life and his stylistic development. When he was young he started writing in the late Romantic style later moving onto Expressionism as seen in early Arnold Schoenberg (1874-1951) to then reach his neo classicistic, New Objectivity style that he developed in his mid to late 20’s and developed until the end of his life. New Objectivity perfectly aligning with the Neoclassicism, as it stands for a return to unsentimental reality and a focus on the objective world, steering away from the Romantic and Expressionistic ideals.

When looking at the origins of Hindemith’s affinity with early music, we first have to go back to his initial education, where he, as many of us now, first encountered Bach’s music and writing style. As a string player, he also came in touch with both German and Italian Baroque music with which he developed a strong connection over time.1 The real turning point however, the one that sparked the true fire to his love for early music was the discovery of the viola d’amore in 1922. He fell in love with this instrument and started learning how to play it as well as studying and conducting other early music instruments, like the viola da gamba, the vielle and the bassoon, when he was a professor of composition at the Hochschule für Musik in Berlin from 1927 to 1937.2 When he realised there was a lack of repertoire for these instruments, he started studying old musical treatises. Although Hindemith was an academic, these studies were not just for the sole purpose of learning, as he didn’t just view these instruments as a part of history but rather as a source of inspiration.

After his discovery of early music performance on historical instruments in 1922 he even wrote to his Frankfurt friend Emmy Ronnefeldt, I have a new sport, I've been playing the viola d'amour, a wonderful instrument that has completely disappeared and which has just a very small body of literature. The most beautiful sound you can imagine; an indescribable sweetness and softness. It is tricky to play, but I play it with great enthusiasm and for the pleasure of all listeners.3

Hindemith might have felt so connected to early music because of his humble upbringing, as he grew up in severe poverty during his childhood, and his performing experiences were in more ‘casual’ places such as coffee houses, resorts, cinemas, … It could be that his simple nature related to the more light-hearted, improvisational style of early music even though Hindemith had received excellent training and possessed virtuoso technical skills. Prof. Dr. Eckhart Richter (1926-2021) even said that he saw something minstrel-like in Hindemith’s casual pose when playing, perhaps that’s where we can make the connection to his attraction to the down-to earth, improvisatory approach of early music.4

The end of World War I marked the end of an era and the beginning of many shifts in the stylistic world of composers. For Hindemith this meant leaning into the Neo Baroque style as it responds to the social and cultural changes, going against the extreme emotions of the late Romanticism. When the Neo Baroque style was combined with the New Objectivity, Hindemith made for a return to more Classical forms of expression, resulting in compositions using early music forms and techniques. Hindemith approached this as an historicist in modern music meaning he considered himself to be a modern composer paying homage to history. This resulted in him using models and traditions of the Baroque and putting them in the new music context by attacking the old problems but finding new solutions.5 Elements he kept, were the clear rhythmic energy, the sharply defined forms (where each section had a clear meaning as it did for the 18^th century masters) and avoiding tonal ‘mysteries’, meaning the beginning and end of a piece was the tonic.

The strong connection of Hindemith to Bach, could be found in their similar view on music, which was utilitarian and non-romantic. Their mathematical approach was also a defining aspect in both of their styles. The revival of Baroque music in the 1920’s also made for a shift back to having Bach be the aesthetic example for what perfection in music should reflect in the contemporary society.

Hindemith’s admiration for Bach can also be recognised in this quote out of his speech for the bicentennial Bach commemoration: Recognition of human excellencies its highest form, knowledge of the path that leads to it, the necessary done with dutifulness and driven to that point of perfection where it outgrows all necessity—this knowledge is the most precious inheritance given to us with Bach’s music.6

The way I see it, this information about Hindemith in his own environment and looking at his personality, shows he was a confident and capable man with a clear vision of what he wanted to present to the world, a man who wouldn’t stray from his own personal values which is clearly reflected in many of his works. A strong personality just like Bach. When bringing this research to the stage, my goal is to put emphasis on their strong conviction and clarity of views, this by emphasising my knowledge of the structure through clear phrasing, as well as build-ups towards his climaxes and winding down after.

Hindemith with the viola d'amore

Hindemith playing the viola

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