The phrase “metamorphosis” signifies a change from an embryonic state to maturity.
Symphonic Metamorphosis on Themes of Carl Maria von Weber by Paul Hindemith (1895-1963) employs this course of. The four-movement orchestral work, accomplished in 1943, relies on obscure music by Weber, an modern opera composer who’s credited with increasing the dimensions and dramatic scope of the orchestra on the daybreak of the Romantic interval. The themes, virtually fully preserved, are drawn from 4 hand piano duets Hindemith performed continuously together with his spouse. Wearing new harmonic garb, the unique themes turn into seeds for hanging new music.
The genesis for the work got here in early 1940. Hindemith had emigrated to the US, having fled the Nazis, who branded his music “degenerate.” Russian choreographer Léonide Massine advised that Hindemith compose a ballet primarily based on themes by Weber. The 2, who had collaborated two years earlier on Nobilissima visione, had inventive variations. Moderately than adventurous new music, Massine wished a easy re-orchestration of Weber. On the identical time, Hindemith was shocked by proposed units and costumes primarily based on the artwork of Salvador Dali. The deserted ballet rating was quickly reborn as music for the live performance corridor.
Symphonic Metamorphosis begins with a sunny, exuberant Allegro through which the instrumental voices of the orchestra interact in a playful romp. In a single passage (starting at 3:03), the violas and higher woodwinds mix to counsel the combination cease on a pipe organ (shimmering high-pitched overtones above the principal decrease pitch). The identical impact may be heard in Ravel’s Bolero.
The second motion, Scherzo (Turandot) comes from Weber’s incidental music to Schiller’s adaptation of Carlo Gozzi’s Turandot. It’s the identical story popularized by Puccini’s 1926 opera. The infectious theme, evocative of China and the orient, is launched by the solo flute, and accompanied by dreamy chimes and a hushed string drone. Rising in solo voices and teams of devices, it’s tossed across the orchestra. The distinct personas of the voices come alive in a colourful dialog. Simply once we assume the music is exhausted, the theme develops into the topic of a vigorous fugue. Hindemith, a famous trainer of composition and music principle, appears to be reveling in his data of the devices and his mastery of conventional types.
The third motion (Andantino) unfolds as a easy melody crammed with thriller and quiet longing. It begins as a musical dialog between the clarinet and bassoon. Within the remaining part, the theme is embellished by a “dancing” flute obligato.
Starting with a daring trombone “announcement,” the ultimate motion is a spirited march, punctuated by drumbeats and noble horn calls. A grand instrumental tour de drive, Symphonic Metamorphosis concludes with a way of festive celebration.
