Sign on to the blogfeed: Visit the website: www.normanlebrecht. A majority of the movements do sound playful, more like. One of the charms of these pieces is the wit and quirky sense of humor that Hindemith displays. Ludus tonalis - a 50-minute cycle of 12 fugues, one in each of the major keys, connected by interludes and framed by a prelude and postlude - is clearly related to the structure of Bach 's Well-Tempered Clavier. This article examines the scores as reflecting, respectively, aspects of nineteenth-century and early twentieth-century conceptions of musical composition and form, and their. I’ve had her Ludus in the background all week and, while I can’t pretend to love the work, I can’t help but admire Hindemith’s morning exercises, his oh-so-German devotion to the precise placement of nuts and bolts and Laretei’s unflinching turn of the family screwdriver. A significant element in the most compelling pieces here is his rhythmic inventiveness, which is considerable, and is most evident in the more energetic and propulsive fugues and interludes. The two documents, illustrating Mendelssohn’s Schilflied (1842) and Hindemith’s Ludus Tonalis (1942), are strong declarations of compositional and artistic ideology. Laretei treats Hindemith with appropriate austerity, no flirty smiles, no lapses of concentration (dinner at the Bergmans must have been fun). She has technique to spare and a feel for mood that few piano players can replicate. Moreover, Hindemith composed all the fugues before composing. The Fugues of Hindemith's Ludus Tonalis and Their Historical Antecedents - Sylvan Fox 1952 A Topical Guide to Schenkerian Literature - David Carson Berry 2004 To the growing list of Pendragon Press publications devoted to the work of Heinrich Schenker, we wish to announce the addition of this much-needed bibliography.

Bach in the Well-tempered clavier and those of Paul Hindemith in Ludus tonalis - Discover. Hindemith waited to the very last to compose this launching piece.

Why she is not better known I cannot figure. Not many pianists have tackled Hindemith’s contrapuntal keyboard magnum opus on disc, and few with unqualified success. A comparative analysis of the expositions in the fugues of J.S. Hindemith wrote ‘Ludus tonalis’ in 1942 while staying in the US as a refugee from Nazi Germany. The pianist in this rare recording, reissued from 1965, is the Estonian refugee Käbi Laretei who, in Sweden, became the first wife of the film drector Ingmar Bergman. Like a rattler, you know it’s there but you don’t dare look. Frequent tempo gearshifts and a basic lack of dynamic contrast, however, seem to.

Siglind Bruhn’s serviceable technique allows her to negotiate the thornier Interludiums with reasonable fluency. The 1943 Ludus Tonalis set for solo piano, premiered by Artur Schnabel in Chicago that year, is Hindemith’s attempt at a Goldberg Variations, contrapuntal as a dyspeptic snake, turning this way and that, striking without warning. Not many pianists have tackled Hindemith’s contrapuntal keyboard magnum opus on disc, and few with unqualified success.

Hindemith ludus tonalis analysis