This collects two of Hindemith’s solo piano works, the most famous ones and those that are usually considered “essential.”
Ludas Tonalis
Ludas Tonalis is Hindemith’s attempt at a modern version of The Well Tempered Clavier. And though it is obviously not quite up to that standard, it’s still a noble attempt. This is far and away my favourite of his music so far. I have found his orchestral music to be rather conservative, but this piece manages to both honour tradition (obviously, if it’s a Bach homage/re-imagining) and push the way we think about music, albeit while remaining conventionally tonal. It’s quite the work.
- Praeludium. Partly in C (mm. 1–32) and partly in F♯ (mm. 34–47)
- Fuga prima in C: Triple fugue
- Interludium: Romantic improvisation
- Fuga secunda in G: Dance in 5/8 time
- Interludium: Pastorale
- Fuga tertia in F: Mirror fugue
- Interludium: Folk dance (Gavotte)
- Fuga quarta in A: Double fugue
- Interludium: Baroque prelude
- Fuga quinta in E: Gigue
- Interludium: Romantic miniature (Chopin style)
- Fuga sexta in E♭: Rococo style
- Interludium: March
- Fuga septima in A♭: Romantic style
- Interludium: Romantic miniature (Brahms style)
- Fuga octava in D: Dance in 5/4 time
- Interludium: Baroque toccata
- Fuga nona in B♭: Subject transformation fugue
- Interludium: Pastorale
- Fuga decima in D♭: Inversion fugue
- Interludium: Folk dance (Courante)
- Fuga undecima in B (canon): Accompanied canon
- Interludium: Romantic waltz
- Fuga duodecima in F♯: Stretto fugue
- Postludium: Retrograde inversion of the Praeludium.
1922 Op. 26
Though 1922 is far less ambitious, it is no less enjoyable. It’s a fun and thought-provoking piece that challenges traditional ideas of piano tunes while remaining in the tradition, but also incorporating influences from contemporary music, in a way that I feel like Hindemith’s later music absolutely does not. It’s pretty good stuff.
The collection on the whole is superb and really the only thing keep me from awarding it full marks is that there are greater composers for the piano in the first half of the 20th century – Copland, Debussy, Satie and many others – and Hindemith’s music isn’t quite as important as that stuff.
9/10