Hindemith Der Schwanendreher Program Notes

Hindemith’s three-movement viola concerto (we perform the third movement today) is has an unusual instrumentation, omitting violins and violas. The only two mainstream pieces omitting violins are a Brahms Serenade and Stravinsky’s Symphony of Psalms: it’s very rare. It instantly solves many issues of balance and projects, the main reason we hear relatively few viola concertos. Der Schwanendreher reflects Hindemith’s interest in the cultural value old Germany at the time when current Germany (the 1930s) was filled with strife. It’s from the same year as the opera Mathis der Maler (Mathis the Painter), which he set in the 1520s during the Protestant Reformation. Der Schwanendreher is based on old German folk melodies. The third movement is a set of variations on the tune “Are You Not the Swan Turner?” By the time this tune was sung, a swan-turner was shorthand for a travelling musician, most likely playing a hurdy-gurdy, which has a turning wheel inside it. (The other swan-turner was the kitchen-hand turning the spit while a swan cooked over coals.) The variations of this one melody are boisterous, contrasted with a lilting, barcarolle rhythm, and sometimes humorously rollicking. Der Schwanendreher is a tour-de-force of viola playing, proving a staple of solo viola repertoire ever since Hindemith, himself a virtuoso violist, premiered the piece with the Concertgebouw Orchestra in Amsterdam in 1935, conducted by Mengelberg.

Additional Information

Paul Hindemith’s “Der Schwanendreher” is one of the most significant 20th-century works for solo viola and orchestra, and it occupies a special place in the viola repertoire. Here’s a detailed exploration:

Composition and Structure

Paul Hindemith composed “Der Schwanendreher” in 1935, during a period of intense productivity. The piece is a viola concerto with a distinctly unique character. Rather than writing a traditional concerto, Hindemith designed it as a “Konzertstück” (concert piece), drawing on German folk songs as its thematic material. The title, “Der Schwanendreher” (The Swan Turner), refers to a medieval minstrel who turns a swan on a spit—a reference that connects to the folk origins of the piece. The work consists of three movements:

• I. Zwischen Berg und tiefem Tal (“Between Mountain and Deep Valley”)
• II. Nun laube, Lindlein, laube (“Now Grow, Little Linden Tree, Grow”)
• III. Variationen über das Volkslied ‘Seid ihr nicht der Schwanendreher?’ (“Variations on the Folk Song ‘Are You Not the Swan Turner?'”)

Each movement integrates folk tunes, lending the piece an earthy, rustic quality and diverging from the traditional Romantic virtuosity expected in concertos.

Historical Context and First Performance

“Der Schwanendreher” premiered on November 14, 1935, in Amsterdam, with Hindemith himself as the soloist and Willem Mengelberg conducting the Concertgebouw Orchestra. The timing of this premiere is crucial, as Hindemith faced growing challenges in Nazi Germany, where his music was increasingly suppressed due to its perceived modernism and his resistance to the Nazi regime. Hindemith’s decision to use German folk songs was a bold, subtle statement. The music can be interpreted as an assertion of national identity that is rich and historically grounded, yet outside the reach of Nazi ideology.

Notable Soloists and Performances

“Der Schwanendreher” has since become a favorite in the viola repertoire, championed by prominent violists who have shaped its interpretation and reputation:

• William Primrose: One of the 20th century’s great violists, Primrose performed “Der Schwanendreher” widely and recorded it, helping to establish its place in the repertoire.
• Nobuko Imai: Known for her sensitivity and elegance, Imai’s performances brought new subtleties to the piece.
• Tabea Zimmermann: Regarded as one of the finest violists of her generation, Zimmermann’s interpretation of “Der Schwanendreher” has been celebrated for its warmth and technical precision.

Other notable violists who frequently perform this work include Kim Kashkashian, Lawrence Power, and Hindemith scholars like Geraldine Walther.

Significance to the Viola Repertoire

“Der Schwanendreher” is a cornerstone of the 20th-century viola repertoire. Hindemith himself was a violist, and his contributions to the instrument’s literature are indispensable. The work’s distinctive use of folk themes, combined with its demand for both expressive and technical skills, makes it an essential study for violists. The piece demonstrates the viola’s lyrical and dramatic potential in a solo setting, counteracting stereotypes of the viola as an orchestral or chamber instrument. It has inspired countless violists to push their technical and interpretive boundaries.

Recent and Noteworthy Performances

Recent performances of “Der Schwanendreher” continue to be featured by major orchestras and international soloists, especially those with a focus on 20th-century music. Tabea Zimmermann and Lawrence Power have presented memorable interpretations in recent years, sometimes accompanied by orchestras like the Berlin Philharmonic and the London Symphony Orchestra. In 2023, Antoine Tamestit, a violist known for his profound interpretations of Hindemith’s works, performed it in Berlin, accompanied by the Berlin Radio Symphony Orchestra, bringing new attention to its historical and expressive depths.

Impact on Audiences and Musicians

“Der Schwanendreher” serves as a bridge between traditional and modern music, resonating with audiences through its folk-inspired themes while challenging listeners with its intricate, contrapuntal structure and innovative orchestration. Violists see it as both a technical challenge and an expressive journey. Its folk elements give performers room to explore a range of expressive colors, from playful to somber, emphasizing the viola’s versatility. In summary, Paul Hindemith’s “Der Schwanendreher” stands as an iconic piece that redefined the viola’s role in solo repertoire. Its historical and cultural nuances, combined with the technical mastery required to perform it, continue to captivate audiences and make it a treasured work among violists worldwide. Paul Hindemith Born: November 16, 1895, Hanau, Germany Died: December 28, 1963, Frankfurt, Germany