Paul Hindemith was one of the most versatile musical figures of the 20th century. Through an in-depth biography, we explore the man behind one of the most important works in the modern viola repertoire, Der Schwanendreher, a concerto for viola and orchestra, the analysis of which is addressed in the second part of the thesis. We examine his main philosophical views in his roles as performer, composer, teacher, and author of theoretical books, and find that he was a man of remarkable depth, whose thought transcends the time and space of his era. By developing Sing- und Spielmusik, music intended for domestic, social, and amateur use, he actively opposed two diagnosed forms of musical isolationism: composing incomprehensible music and composing unplayable music. This is followed by an analysis of the concerto and a presentation of the folk songs it is based on. The analysis, viewed through the lens of Hindemith’s compositional and philosophical principles, offers interesting insights and opens up fresh interpretative possibilities for violists. Since we recognize that Hindemith’s breadth is not an anomaly in music history, the thesis concludes with a simple original composition intended to encourage reflection on the today's commonly accepted premise that success requires strict specialization in one field or another, while stepping beyond that is often discouraged. By involving the audience in the performance, the piece seeks to embody the principle that music is an actively social, exoteric activity that, by its very nature, calls for participation.
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