Despite the received wisdom that his music is dry and academic, much of the material is energetic and convivial – even witty. The viola was his instrument and he composed seven sonatas for it, in addition to these pieces. The two neo-classical works, Konzertmusik Op 48 and Kammermusik No 5, are 20th-century takes on Handel’s Concerti Grossi and Bach’s Brandenburg Concerti respectively and feature masterful orchestration – especially in the superlative woodwind writing and bustling outer movements – while affording ample scope for the viola’s exquisitely soulful qualities.

His only fully fledged concerto for the viola was Der Schwanendreher (“The Swan Turner”). This is based on old German folksongs, played by an iterant fiddler (the viola soloist), in an attempt to evoke the spirit of a more innocent age; understandable, considering Germany’s increasingly bleak political climate (Hindemith was resolutely anti-Nazi). This is the jewel in Hindemith’s crown; anyone who finds his music sterile should listen to the duet between viola  and harp and woodwind chorale in the introduction to the beautiful slow movement.

The remaining work, Trauermusik (“Music for Mourning”) has a connection with Schwanandreher: when Hindemith was in London for the UK premiere, King George V died. Hindemith composed Trauermusik in six hours and it was included in the following evening’s memorial concert. Lawrence Power and the BBC Scottish Orchestra acquit themselves admirably.

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