I love the first fugue when all 3 subjects appear together! Even though it’s not written in tonality it doesn’t sound forceful at all. The second fugue is so refreshing with those quartal melodies and the repeated notes which are almost like the fugue in Beethoven’s Diabelli Variation. The fugue subject in the Fuga Tertia almost sounds like the royal theme in Bach’s Musical Offering! The crab fugue is quite amazing although without the constrain of tonality it’s easier when the harmonic grammar can be ignored. The Gavotte next to it is so funny! That interlude in Chopin’s style is so beautiful which is almost like Scriabin. I really think the Brahmsian interlude more Rachmaninovian in its climax. The fuga Undecima reminds me of the Fuga Canonica in Bach’s Musical Offering! It’s amazing that Hindemith uses all these fugal techniques honestly, whenever it’s consolation or desolation. I actually quite love the postlude, regardless of its relationship with the prelude. For me it’s just as fresh as a new piece after the 23 movements between them. One thing somewhat disappointing is that Hindemith didn’t explore four or five part voices in his fugues! His fugal technique is so great and he should write in with more voices! It’s so much easier to write a fugue in three voices then ones in five or six voices!! (I can say that haha!) This is not to undermine Hindemith’s achievement here but it’s just a pity. Your analysis is as detailed and fruitful as always, thx for that! I strictly follow those analyses, but in the middle I start to listen to the music ignoring all those fugal techniques haha! It’s an hour of listening but it’s so fruitful. I can finally have the time for this! For my life update, I just finish another part of my Sextet which is posted on my YT channel, so I am relatively quiet before finishing it. Now I can at least temporarily be pressure free and listen to music!! Thx for your video!🎉🎉 Henry
