Paul Hindemith’s Der Schwanendreher
(literally ‘the swan turner’) is a viola
concerto based on medieval German
folk songs. While the ‘swan turner’ was
literally someone who turned the spit of a
roasting swan, metaphorically it referred
to an itinerant minstrel whose street
organ or hurdy-gurdy was cranked via a
swan’s-neck handle. He composed the
work between September and October
1935, and it was premiered at the Concert
gebouw in Amsterdam, with the composer
(a virtuoso violist who did much to elevate
the instrument’s status) serving as soloist.
In it, Hindemith creates a musical
‘structure’ that enhances the solo viola
by contrasting it with a uniquely scored
tutti ensemble of winds with four cellos
and three double basses. After the slow
introduction to the first movement
comes a section in classic sonata form with
orchestration evoking the world and art of
minstrelsy. The second movement opens
with a sad dialogue between the viola
and harp, inspired by an ancient song on
lost love; this is followed by a contrasting
fugato in which the sadness of the
cuckoo (an omen of doom) is alleviated by
the musical writing. The third movement
features seven variations on the titular
Schwanendreher song, whose jovial, light
character is skilfull rendered with iridescent
rhythmic articulation.
A prolific and versatile composer,
Hindemith was initially drawn to
expressionism and atonal harmony before
embracing a neo-Baroque style along his
journey towards abstract objectivism.
By the end of the first quarter of
the 20th century, Hindemith had
become one of the leading exponents of
Gebrauchsmusik (‘Utility Music’),
a musical approach designed to respond
to societal needs as opposed to individual
abstract aesthetic feelings. It saw the
creation of much music aimed at amateurs,
though with no compromise on quality.
It was in this context that
Hindemith composed the set of
Schulwerk für Instrumental Zusammen
spiel (Educational Music for Instrumental
Ensembles) between March and April 1927.
Designed for a youth orchestra, the music
is by no means uninteresting or technically
simple. Its fourth section is made up of
the Fünf Stücke (Five Pieces) scored for a
five-part string orchestra with an additional
solo violin introduced in the fifth piece.
While the writing remains within
certain technical bounds, the score is
brimming with expressive variety, rhythmic
dynamism, harmonic freedom and timbral
sensitivity, all of which can be recognized
as hallmarks of this period in Hindemith’s
compositional career. They showcase
the composer’s contrapuntal expertise, a
quality particularly pronounced in the third
piece, Lebhaft, with its direct connection to
Johann Sebastian Bach. In these ‘teaching
works’ Hindemith’s meticulous attention to
detail reveals a distinctly German penchant
for musical craftsmanship meeting the expectations
of even ‘professional’ musicians.
Recorded March 2023, Sala Bianca, Foggia,
Italy
Bilingual booklet in English and Italian
contains liner notes by Alberto Mammarella