Der Schwanendreher

Der Schwanendreher

Composer: Paul Hindemith

Date of publication: 1935

Nickname: The Swan Turner, Concerto from Old Folk Songs

Drawing inspiration from his native medieval folk songs, Paul Hindemith began composing his viola concerto in 1935. Each of his concerto's movements draws from traditional Germanic folk songs -- manifesting its colloquial name, "Concerto from Old Folk Songs". The official name of the piece, Der Schwanendreher (The Swan Turner), comes from its final movement, based on the folk song, "Seid ihr nicht der Schwanendreher”. However, despite the folk songs’ charm, the concerto isn’t entirely jolly. During the times Hindemith was composing this concerto, he was constantly harassed in Nazi Germany for a multitude of reasons, including marrying a Jewish woman. As a result, he dedicates the second movement to 2 notable folk songs: "Nicht länger ich's ertrag (I can bear it no longer)" and "hab' gar ein' traurig' Tag (I have an utterly sad day)". But since he is drawing from 2 well known songs, it would not take a musical mastermind to pick up his frustration and disapproval of the Nazi regime. So, Hindemith did not dare to perform this piece in Germany, and instead premiered it in Amsterdam.

As a violist, Hindemith understood the troubles of a solo viola being drowned out by the entire orchestra and so, drastically cut down the symphony. He cut out almost the entire strings section, leaving only the cellos and bass, which play on a lower register than the viola, and so don’t serve as much of a threat of overpowering as violins. He also minimized the number of band instruments as well. Unlike Brahms or Schubert whose viola works often sound more like a duet between the viola and accompanist, Hindemith makes it clear that his concerto is for the viola. He practically never interlocks the voices of the orchestra and viola together to form the melody, instead opting to have the viola play the entire melody, with the orchestra chiming in and providing atmosphere. In his concerto, Hindemith incorporates dissonance everywhere, a habit he grew into while Germany was under Nazi control, using jarring chords to signify his silent disdain.

Within the first movement, Hindemith cleverly adapts the song “Zwischen Berg und tiefem Tal (Between mountain and deep valley)” by making the orchestra play its original theme, whilst the viola plays a new, modified version. Keeping with the song’s story of 2 rabbits peacefully grazing before being shot at by a hunter who ends up missing, the piece intensifies as it progresses, employing more frequent, heavy chords, frantic eighth note and sixteenth note passages, and passionate runs.

The second and most personal movement for Hindemith is filled with sorrow. Here, the viola and harp are emphasized, allowing for a much more tender, hurt sound. The movement draws inspiration from 2 songs, "Nicht länger ich's ertrag (I can bear it no longer)" and "hab' gar ein' traurig' Tag (I have an utterly sad day)". And the pain is clear as day. The viola begins with a lamenting, smooth melody --a depressed realization of futility. The entire movement is slower and lacks the bravado of the first, feeling almost hollow in juxtaposition, almost as if it is questioning itself. No doubt, this is Hindemith’s way of expressing himself under the rule of Nazi Germany, hated by practically every institution for his marriage and beliefs, unable to succeed.

Despite the more common interpretation of the third movement “Seid ihr nicht der Schwanendreher (Aren’t you the swan turner)” of a cook's assistant turning a roasting stick of swans, the movement is about a musician and his swan-neck shaped street organ. Hindemith even makes note of this in a comment on his original score. But since most of the world hasn’t been privy to said score, it’s hard to fault people for thinking otherwise. Much of the lack of transparency also originates from Hindemith’s living conditions under the Third Reich, where he probably kept quiet about most of his intentions in his pieces. The meandering musician comes to life in the final movement with fluttering scherzo-like passages, surrounded by a busy orchestra, resembling the noisy streets.

Fun Fact:

The British première for this piece was set to be on 22 January 1936. However, the king George V died just 2 nights before, and Hindemith was forced to compose Trauermusik in the king’s honor to be performed instead.

Movements:

1. Zwischen Berg und tiefem Tal«. Langsam - Mäßig bewegt, mit Kraft ∙ "Between mountain and deep valley" Slowly - moderately agitated, with force ∙

2. "Nicht länger ich's ertrag (I can bear it no longer)" and "hab' gar ein' traurig' Tag (I have an utterly sad day)"

3. »Seid ihr nicht der Schwanendreher«. Mäßig schnell - Ruhig bewegt - Zeitmaß wie früher - Lebhafte

"Aren't you the swan turner". Moderately fast - calmly moving - timing as before - lively