Draft:Das Unaufhörliche
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Comment: While references which are not online are acceptable, it is my firm feeling that online versions are available and that you can find and use them. References must pass WP:42. I am not persuaded that your current references are anything except catalogue entries.We need to think of our readers as well as simply getting an article accepted. Readers wish to read the reference material as well as any articleHindemith's works are likely, but not certain, to pass WP:NMUSIC and we woudl like to accept the draft, but I am unable to at this stage. 🇵🇸🇺🇦 FiddleTimtrent FaddleTalk to me 🇺🇦🇵🇸 18:07, 1 June 2025 (UTC)
Das Unaufhörliche is an oratorio in three parts for soloists, mixed choir, boys' choir, and orchestra by Paul Hindemith (music) and Gottfried Benn (text). The world premiere took place on November 21, 1931, in Berlin during the 2nd Conference for Radio Music, performed by the Philharmonic Choir and the Philharmonic Orchestra under Otto Klemperer.[1] The work was published by Schott’s Söhne, Mainz, in 1931, along with a separate edition of the text, which contained minor textual variations. Benn himself first published a shortened version of the lyrical text in his Selected Poems (1936), along with two non-musical "studies" ("Chorales").[2] The same selection of texts later appeared in The Drunken Flood (1949) and Collected Poems (1956).[2]
Gottfried Benn wrote an introduction to this oratorio. In it, he explains: "We know nothing of creation except that it transforms itself – and Das Unaufhörliche is meant to express this most fundamental background of life, its elementary principle of transformation and the relentless upheaval of its forms."[3] In the course of this introduction, Benn further elaborates that this idea of an eternally changing creation, originating with Heraclitus and passed down through the Greeks, ultimately found expression in German literature, particularly in Goethe’s Faust and later in Nietzsche’s Thus Spoke Zarathustra. Benn does not interpret Das Unaufhörliche as a religious or philosophical concept but rather as a "universal principle ... that has existed in humanity since the beginning and is connected to the fateful ..."[4]
References
[edit]- ^ Gottfried Benn, Briefe. Vol. 4: Briefe an Tilly Wedekind. Marguerite Valerie Schlüter (ed.). Klett-Cotta, Stuttgart 1986, p. 293
- ^ a b Gottfried Benn: Sämtliche Werke. Vol. I (1986), pp. 402f.
- ^ Gottfried Benn: Gesammelte Werke in vier Bänden. Vol. 3: Gedichte. 10th ed. Klett-Cotta, Stuttgart 1996, p. 599.
- ^ Gottfried Benn: Gesammelte Werke in vier Bänden. Vol. 3: Gedichte. 10th ed. Klett-Cotta, Stuttgart 1996, p. 600.
Further reading
[edit]- Martin Andris: "Music non-stop. Paul Hindemiths Geschichtskonzeptionen vor dem Ende der Weimarer Republik" (= Rombach Wissenschaften. Reihe Litterae. vol. 236). Rombach, Freiburg i.Br./Berlin/Vienna 2019, ISBN 978-3-7930-9920-8.
- Siglind Bruhn: "Das Unaufhörliche, ein weltliches Oratorium". In: Hindemiths große Vokalwerke. Hindemith-Trilogie Band II. Waldkirch: Edition Gorz 2010, ISBN 978-3-938095-14-0, pp. 127–178.
External link
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