by Rebecca Cochran
When Paul Hindemith was rehearsing Bach with a prominent German orchestra, he supposedly, at one point, asked the strings to add vibrato and dynamic variety in a particular section. The concertmaster replied that the orchestra was playing in the style of their ancestor, J.S. Bach, i.e., without vibrato or emotion. Apparently, Hindemith replied, “I don’t know how, with no vibrato, Bach could have so many sons.”
Hindemith was greatly influenced by Bach. Hindemith’s Ludus Tonalis was intended to be the twentieth-century equivalent to Bach's The Well-Tempered Clavier. Enjoy this excerpt from Ludus Tonalis with the Queensland Symphony Orchestra Brisbane under Werner Andreas Albert.
When Paul Hindemith was rehearsing Bach with a prominent German orchestra, he supposedly, at one point, asked the strings to add vibrato and dynamic variety in a particular section. The concertmaster replied that the orchestra was playing in the style of their ancestor, J.S. Bach, i.e., without vibrato or emotion. Apparently, Hindemith replied, “I don’t know how, with no vibrato, Bach could have so many sons.”
Hindemith was greatly influenced by Bach. Hindemith’s Ludus Tonalis was intended to be the twentieth-century equivalent to Bach's The Well-Tempered Clavier. Enjoy this excerpt from Ludus Tonalis with the Queensland Symphony Orchestra Brisbane under Werner Andreas Albert.
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