Abstract

On 11 August 1957, the Munich Opera Festival premiered a recently completed opera by the celebrated German composer Paul Hindemith, Die Harmonie der Welt. Hindemith bases the dramaturgical and musical features of this opera on the scientific and spiritual content found in the writings of the 17th-century mathematician, astronomer and philosopher Johannes Kepler. Six years before he started working on this opera, the composer responded to a commission received from the Swiss conductor and patron of contemporary composers, Paul Sacher, by quickly composing and sending off the Symphony Die Harmonie der Welt which, as the composer writes in the program book for the first performance, “develops passages from the opera” in three movements entitled with terms taken from Boethius: I Musica instrumentalis, II Musica humana, and III Musica mundana. What are we to make of the explanation that the symphony “develops passages” from a work of which as yet nothing, neither libretto nor music, existed on paper? I want to show that it is tempting to assume a creative process that matures from the spiritual and aesthetic idea through a composition of musical material into components that would later serve both an instrumental and a music-dramatic representation of the subject.