The Washington times. [volume] (Washington [D.C.]) 1902-1939, 1937-04-20

IulUus
To quote from Modern Music
concerning Hindemith's work in
Turkey: I'm Angora he has laid
the foundations for a fruitful mus
ical life for the Turkish state, &C.
cording to the best European mod
els. Music schools, symphony or
chestras, an academy for music
teachers, have been established &C
cording to his specifications and
with his effective cooperation have
been lifted out of a primitive,
medieval condition.
His scheme, which reveals a
remarkable world-outlook and
practical knowledge, includes the
musical education of the whole
Turkish nation even to the most
remote province. His success IS
already apparent. Its most re-
markable feature is the fact that
this plan cherishes and nurtures
the native characteristics Of Tur-
kish music, its separation from
Arabian culture, as well as the
possibilities Of its development
into a many-Sided art in an Occi-
dental sense.
"Hindemith too has profited by
his contact with this young, exotic
culture. Turkeys music has only
one means Of expreSSion-melody
1t corresponds IN development to
the level which Europe had
reached in the first thousand
years, A. D. Hindemith could not
react Economically by introducing
the exotic peculiaritieS Of Turkish
music into his own. But his sense
of absolute melody has been
strengthened, his lines have gained
in form, in logic, in expression.
Perhaps this development has
taken place at the expense Of har-
monic-tonal riches, but it has
brought treasures to modern
music which the world cannot
ignore"
Like every other composer Hinde-
mith's music shows the influence
of his predecessors. He leaned
on Brahms, but soon conceived a
new musical idiom in conscious de-
parture from the melodiouS ex-
travagance and superficial senti-
mentalism of the decadents Of the
era terminating with the begin
ming Of the present century. Strug-
Cling arduously and tireleSsly for
new expression ana q new style,
he absorbed everything the To-
menting times offered. :,
Like every prophet Of q new
epoch, he encountered many OBJ
stacles. He followed many by
path but always found his way
back to the main road, discarding
everything that did not seem use
full in the attainment Of his goal.
While many Of his admirers and
followers were looking upon his ex-
periments as an end in itself, he
had long since achieved new
heights, advancing quietly by him.
self, where he clearly perceived
the object Of his Seeking-the new
style in music.
Hindemith's work as it is today
will some day undoubtedly con-
stitute the most important chap
ter contributed by our time to the
history of music. The "Hinde-
NTH" phenomenon demonstrates
clearly and unequivocally, more
perhaps than in. any other field
of creative endeavor, the external
and spiritual phases of revolution
airy transition.
While violently attacked by the
older generation, he is without
question the spiritual leader Of
the younger generation of must
clans. "A renowned German critic
once said in speaking of Hinde-
mith's works: whether Bach is
popular or not, his importance in
the development of music is ak
iomatic. And yet this was not
recognized until generations later. F"
This critic believes Hindemith is