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In another rare publication, 1996/97, customs special issue of the French magazine Ostinato Rigore memorial of the centenary of the birth of composer Andres Briner, a pupil of Hindemith in Zurich, and who was later chairman of the board of the foundation Hindemith, proposes to mint its concept of musical “accent free”, or “the music is tonal and noticeable, but does not obey more by specific roles (…) Hindemith considered equal temperament eyeliner historic day outdated. Proposed to create more clarity in harmony with the changes the tonic of the work by the temperament of the farmer, the more pure the (…) so he gave her the polyphony formal principle of tonal, on the basis of a scale of twelve sounds of the chromatic, but with the system function.”

This type of movement has angered some Theodor Adorno, The Great home of music from the 20th century: “that the young Hindemith gave the impression of being revolutionary in the fact it can be via the French word ‘rudesse’. His music is characterized by some of the vulgarity photos and create that is not afraid of the ordinary, without the love of detail (…) it was Hindemith who brought this yeast to German music”. Wish Schubert, director of the Institute of Hindemith Frankfurt am main opponent: “in fact, Adorno unfortunately – alien – close to the Nationalist-Socialist when it qualifies as music to ‘non-German'”.

On the contrary, says Jacques Viret from the University of Strasbourg. The King was “the incarnation of historical consciousness in our time”. It was not a classic of opportunistic. His relationship with the past is an essential element of his character. “The principle of tonal can the House Ways and generate other musical language in the classical period and the romantic, the tax of what was called the tone of ‘harmony’. All of your effort, while theory, to fertilize the new eggs within the broad field of darkness”.

All this from the basic principles in a gesture of Marcus Aurelius Scarpinella point in relation to the salvation of Hindemith. Without it, the music of the 20th century is much smaller and less nuanceada more manes.

*João Marcos Coelho is critical ElmoWill and author of the book ‘Thinking in music in the Twenty-First Century’ (ed. Perspective)

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