The study was undertaken as limited information exists about the piece in its entirety, and much of what has been written primarily concerns itself with grammatical and contextual aspects of Hindemith’s title. This study examines the history and background surrounding Paul Hindemith’s orchestral piece and demonstrates how Hindemith crafted each movement based off Weber’s original piano duets and incidental orchestral music. ![]() ![]() Several crucial points connected with this Bach-renaissance will be examined in an attempt to understand why.Ī now standard component of orchestral and wind band repertoire, Symphonic Metamorphosis of Themes by Carl Maria von Weber was originally intended to be ballet music. The main question to be investigated in this article is the reason(s) for the unique persistence of Bach’s influence into the 20th century, incomparable even to that of other major composers of the past. At the same time, the image of Bach that each composer created was very different, as is typical in interpreting the abstract drawings of a Rorschach test therefore, each ‘portrait’ of Bach was also, in a way, a self-reflection of the composer. Despite all their differences and possible anxieties, each of these composers consciously and specifically chose Bach as his desired partner in an imaginary dialogue with the past. The famous theory of the “anxiety of influence” (Harold Bloom) seems to be insufficient to explain the admiration and reverence for Bach which highly different composers such as Mahler and Reger, Schoenberg and Shostakovich, and Webern and Schnittke have expressed through their work.
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