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Paul Hindemith was motivated to work with Gottfried Benn after he had read his article InchCan Writers Change the World?Inch. In it Benn states, in opposition to the political program of salvation of his days History has no overarching sense, no upward movement, no dawning of humanity, a motif of the Orient, a myth of the Mediterranean Sea; it survives the Niagara Falls, only to drown in the bathtub; necessity calls and randomness answers. Benn then gave form to these views in his poem InchDas UnaufhörlicheInch, which is supposed to express the self-transformation of the creative act. Hindemith was confronted with the paradoxical problem that he could in no way express the principle of the perpetual, to which as an art form music, too, is subject, by means of an emphatically autonomous music. Instead, he sought to embody the principle of the perpetual in his basic compositional decisions. Hindemith succeeds by always giving something fictive to the InchorganicInch closed forms of the InchnaturalInch musical flow. The principle of the perpetual is assigned to three themes, which almost all of the work's other themes are derived from in the most subtle, unobtrusive art of transformation. And when the final chorus returns to these three themes in their original form, it makes thematically manifest what was always latently present the principle of the perpetual. Album Tracks 1. Das Unaufhorliche Erster Teil, No.1. Chor Das Unaufhorliche - Radio Sym Chor Berlin 2. Das Unaufhorliche Erster Teil, No.1. Chor Sein Lager Von Ost Nach West - Radio Sym Chor Berlin 3. Das Unaufhorliche Erster Teil, No.2 Es Beugt Die Haupter All - Ulrike Sonntag/Robert Worle 4. Das Unaufhorliche Erster Teil, No.3 Das Wir Einst Sinai - Radio Sym Chor Berlin 5. Das Unaufhorliche Erster Teil, No.3 Nun Steht Ein Pfau - Radio Sym Chor Berlin 6. Das Unaufhorliche Erster Teil,
