The turn toward chamber music is an interesting element of modern times, and the place of Paul Hindemith, who is playing tomorrow night in Paine Hall, is at the head of this movement. He represents a general turn from the grandiose conception of music and musicians nurtured in the romantic era. This change of attitude consists of a shift of emphasis from the idea of an artist as a man removed from the ordinary course of life by his inspiration and genius to the conception of an artist as an excellent workman--one who intends his product for use in every-day life. It is an ideal very close to that of Bach who wrote his cantata and his chorale prelude for the next Sunday because that was his job, and, as a good workman, he did his job as best he could in whatever situation he found himself. Of course, one cannot discount the sparkle of ingenuity and inspiration which makes the difference between mere technical exercise and great art. But the change of attitude is rapidly taking place, and when one takes into consideration the amount of water that has gone over the dam since then, the results of the approaches of the eighteenth century and that of Hindemith are remarkably similar.

"Heads-up" directness of the harmonic and rhythmic movement given this music clear, biting force. The texture is usually rigidly contrapuntal, and there is an unexcelled feeling for the directness of lines which, though they wander far tonally, are always clearly logical and purposeful. His method of mixing counterpoints which are rather free in their tonal relationship is balanced by a solidity of harmonic plan which, with frequent, strong cadences brings all voices to a common destination.

Tomorrow's program will again be made up entirely of his own works. Of the four numbers on the program only two, the First Piano Sonata (1936) and the Violin and Piano Sonata in E (1935), are know hereabouts. The Violin and Piano Sonata (1939) has just been completed, and the Sonata for Piano Four Hands (1938) has not been heard here. The first Piano Sonata, inspired by Hoelderlin's poem, Der Main, is familiar to Cambridge audiences. Its direct, simple beauty has earned several performances here. The Violin and Piano Sonata in E has not been heard so frequently, and those who are acquainted with the earlier works in this form will be surprised at the light lyricism and simplicity of this short, melodious piece.

Hindemith has developed an idiom which he has perfectly in his grasp. He has not deserted the old and tried elements of tonality and traditional counterpoint; he has rather employed them as the foundations of a clearly successful and effective idiom. He is one of the most vital and influential figures in contemporary music and it is to be hoped that he will continue to make his contact with America a personal as well as musical one. In view of his treatment at the hands of the present regime in Germany, and his prolonged visits to this country, there is reason to believe that this hope will be realized.