Paul Hindemith’s Оrgan Work in the Context of Orgelbewegung
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Abstract
The article examines the evolution of Paul Hindemith’s organ work in the light of ideas and practice of Orgelbewegung – one of the most significant phenomena in Germany’s organ culture of the first decades of the 20th century, oriented towards “historically informed” music creation, revival of traditions of old masters, reconstruction of baroque sonic concept instruments. Information is given about the activity of ideologues “Organ movement” such as A. Schweitzer and K. Straube, as well as new organ standard is defined – so-called “Praetorius-оrgel”, reconstituted from the historical type of baroque organ structure. Brief description of the structure of the three Hindemith’s organ sonatasand two organ concerts is given, described the basic principles of his musical thinking, determined by a Neo-Baroque style vector. Interpreting “status” genres of instrumental music sonata and concert from the point of view of the restoration of the preclassic principles of formation, the composerappeals to the archetype of concerto grosso and the ancient suite, complementing these composite models with historically appropriate methods of exposing and developing thematic material. Theorist and practitioner Orgelbewegung, Hindemith stood at the origin of “new historicism” as a trend that predetermined the development of organ composition and organ performance in the 20th century.
Keywords: Hindemith, work, organ, Orgelbewegung, organ sonata, concert.
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