music.wikisort.org - Composer

Paul Hindemith (/ˈpaʊlˈhɪndəmɪt/; 16 November 1895 – 28 December 1963) was a German composer, music theorist, teacher, violist and conductor. He founded the Amar Quartet in 1921, touring extensively in Europe. As a composer, he became a major advocate of the Neue Sachlichkeit (new objectivity) style of music in the 1920s, with compositions such as Kammermusik, including works with viola and viola d'amore as solo instruments in a neo-Bachian spirit. Other notable compositions include his song cycle Das Marienleben (1923), Der Schwanendreher for viola and orchestra (1935), the opera Mathis der Maler (1938), the Symphonic Metamorphosis of Themes by Carl Maria von Weber (1943), and the oratorio When Lilacs Last in the Dooryard Bloom'd, a requiem based on Walt Whitman's poem (1946).

Paul Hindemith
Paul Hindemith in 1923
Born	(1895-11-16)16 November 1895 Hanau, German Empire
Died	28 December 1963(1963-12-28) (aged 68) Frankfurt, West Germany
Education	Dr. Hoch's Konservatorium
Occupation	Violist Composer Academic teacher
Organizations	Frankfurt Opera Orchestra Amar Quartet Donaueschingen Festival Yale University University of Zürich
Works	Compositions
Awards	Howland Memorial Prize Pour le Mérite Wihuri Sibelius Prize Balzan Prize

Life and career

Hindemith was born in Hanau, near Frankfurt, the eldest child of the painter and decorator Robert Hindemith from Lower Silesia and his wife Marie Hindemith, née Warnecke.[1] He was taught the violin as a child. He entered Frankfurt's Dr. Hoch's Konservatorium, where he studied violin with Adolf Rebner, as well as conducting and composition with Arnold Mendelssohn and Bernhard Sekles. At first he supported himself by playing in dance bands and musical-comedy groups. He became deputy leader of the Frankfurt Opera Orchestra in 1914 and was promoted to concertmaster in 1916.[2] He played second violin in the Rebner String Quartet from 1914.

Hindemith was conscripted into the Imperial German Army in September 1917 and sent to join his regiment in Alsace in January 1918.[3] There he was assigned to play bass drum in the regiment band and also formed a string quartet. In May 1918 he was deployed to the front in Flanders, where he served as a sentry; his diary has him "surviving grenade attacks only by good luck", according to New Grove Dictionary.[3] After the armistice he returned to Frankfurt and the Rebner Quartet.[3]

In 1921, he founded the Amar Quartet,[4] playing viola, and extensively toured Europe.[2]

As a composer, he became a major advocate of the Neue Sachlichkeit (new objectivity) style of music in the 1920s, with compositions such as Kammermusik. Reminiscent of Bach's Brandenburg Concertos, they include works with viola and viola d'amore as solo instruments in a neo-Bachian spirit.[5] In 1922, some of his pieces were played in the International Society for Contemporary Music festival at Salzburg, which first brought him to the attention of an international audience. The following year, he began to work as an organizer of the Donaueschingen Festival, where he programmed works by several avant-garde composers, including Anton Webern and Arnold Schoenberg. In 1927 he was appointed Professor at the Berliner Hochschule für Musik in Berlin.[6] Hindemith wrote the music for Hans Richter's 1928 avant-garde film Ghosts Before Breakfast (Vormittagsspuk) and also acted in the film; the score and the original film were later burned by the Nazis.[7] The score was recreated by Ian Gardiner in 2006. In 1929 he played the solo part in the premiere of William Walton's viola concerto, after Lionel Tertis, for whom it was written, turned it down.

On 15 May 1924, Hindemith married the actress and singer Gertrud (Johanna Gertrude) Rottenberg (1900–1967).[1] The marriage was childless.[8]

The Nazis' relationship to Hindemith's music was complicated. Some condemned his music as "degenerate" (largely based on his early, sexually charged operas such as Sancta Susanna). In December 1934, during a speech at the Berlin Sports Palace, Germany's Minister of Propaganda Joseph Goebbels publicly denounced Hindemith as an "atonal noisemaker".[9] The Nazis banned his music in October 1936, and he was subsequently included in the 1938 Entartete Musik (Degenerate Music) exhibition in Düsseldorf.[10] Other officials working in Nazi Germany, though, thought that he might provide Germany with an example of a modern German composer, as, by this time, he was writing music based in tonality, with frequent references to folk music. The conductor Wilhelm Furtwängler’s defence of Hindemith, published in 1934, takes this line.[11] The controversy around his work continued throughout the thirties, with Hindemith falling in and out of favour with the Nazis.

During the 1930s, Hindemith visited Cairo and also Ankara several times. He accepted an invitation from the Turkish government to oversee the creation of a music school in Istanbul in 1935, after Goebbels had pressured him to request an indefinite leave of absence from the Berlin Academy.[10] In Turkey, he was the leading figure of a new music pedagogy in the era of president Kemal Atatürk. His deputy was Eduard Zuckmayer.[12] Hindemith led the reorganization of Turkish music education and the early efforts to establish the Turkish State Opera and Ballet. He did not stay in Turkey as long as many other émigrés, but he greatly influenced Turkish musical life; the Ankara State Conservatory owes much to his efforts. Young Turkish musicians regarded Hindemith as a "real master", and he was appreciated and greatly respected.[13]

Toward the end of the 1930s, Hindemith made several tours of America as a viola and viola d'amore soloist.

He emigrated to Switzerland in 1938, partly because his wife was of part-Jewish ancestry.[14]

At the same time that he was codifying his musical language, Hindemith's teaching and compositions began to be affected by his theories, according to critics such as Ernest Ansermet.[15] Arriving in the U.S. in 1940, he taught primarily at Yale University,[16] where he founded the Yale Collegium Musicum.[5] He had such notable students as Lukas Foss, Graham George, Andrew Hill, Norman Dello Joio, Mitch Leigh, Mel Powell, Yehudi Wyner, Harold Shapero, Hans Otte, Ruth Schönthal, Samuel Adler, Leonard Sarason, and Oscar-winning film director George Roy Hill. He also taught at the University at Buffalo, Cornell University, and Wells College.[17] During this time he gave the Charles Eliot Norton Lectures at Harvard, from which the book A Composer's World was extracted. Hindemith had a long friendship with Erich Katz, whose compositions were influenced by him.[18] Also among Hindemith's students were the composers Franz Reizenstein[19] and Robert Strassburg.[20][21]

Hindemith became a U.S. citizen in 1946, but returned to Europe in 1953, living in Zürich and teaching at the university there until he retired from teaching in 1957.[5][10] Toward the end of his life he began to conduct more and made numerous recordings, mostly of his own music.[10]

In 1954, an anonymous critic for Opera magazine, having attended a performance of Hindemith's Neues vom Tage, wrote, "Mr Hindemith is no virtuoso conductor, but he does possess an extraordinary knack of making performers understand how his own music is supposed to go".[22]

Hindemith received the Wihuri Sibelius Prize in 1955.[23] He was awarded the Balzan Prize in 1962 "for the wealth, extent and variety of his work, which is among the most valid in contemporary music, and which contains masterpieces of opera, symphonic and chamber music."[24][23]

Despite a prolonged decline in his physical health, Hindemith composed almost until his death. He died in Frankfurt from pancreatitis aged 68. He is buried in Cimetière La Chiésaz, La Chiésaz, Canton of Vaud, Switzerland.[1]

Music

Hindemith is among the most significant German composers of his time. His early works are in a late romantic idiom, and he later produced expressionist works, rather in the style of the early Schoenberg, before developing a leaner, contrapuntally complex style in the 1920s. This style has been described as neoclassical,[25] but is quite different from the works by Igor Stravinsky labeled with that term, owing more to the contrapuntal language of Johann Sebastian Bach and Max Reger than the Classical clarity of Mozart.^{[citation needed]}

The new style can be heard in the series of works called Kammermusik (Chamber Music) from 1922 to 1927. Each of these pieces is written for a different small instrumental ensemble, many of them very unusual. Kammermusik No. 6, for example, is a concerto for the viola d'amore, an instrument that has not been in wide use since the baroque period, but which Hindemith himself played. He continued to write for unusual groups of instruments throughout his life, producing a trio for viola, heckelphone and piano (1928), 7 trios for 3 trautoniums (1930), a sonata for double bass and a concerto for trumpet, bassoon, and strings (both in 1949), for example.

Around the 1930s, Hindemith began to write less for chamber groups, and more for large orchestral forces. In 1933–35, Hindemith wrote his opera Mathis der Maler, based on the life of the painter Matthias Grünewald. This opera is rarely staged, though a well-known production by the New York City Opera in 1995 was an exception (Holland 1995). It combines the neo-classicism of earlier works with folk song. As a preliminary stage to the composing of this opera, Hindemith wrote a purely instrumental symphony also called Mathis der Maler, which is one of his most frequently performed works. In the opera, some portions of the symphony appear as instrumental interludes, others were elaborated in vocal scenes.

Hindemith wrote Gebrauchsmusik (Music for Use)—compositions intended to have a social or political purpose and sometimes written to be played by amateurs. The concept was inspired by Bertolt Brecht. An example of this is his Trauermusik (Funeral Music), written in January 1936. Hindemith was preparing the London premiere of Der Schwanendreher when he heard news of the death of George V. He quickly wrote this piece for solo viola and string orchestra in tribute to the late king, and the premiere was given that same evening, the day after the king's death.[26] Other examples of Hindemith's Gebrauchsmusik include:

• the Plöner Musiktage (1932): a series of pieces designed for a day of community music making open to all inhabitants of the city of Plön, culminating in an evening concert by grammar school students and teachers.
• a Scherzo for viola and cello (1934), written in several hours during a series of recording sessions as a "filler" for an unexpected blank side of a 78 rpm album, and recorded immediately upon its completion.
• Wir bauen eine Stadt ("We’re Building a City"), an opera for eight-year-olds (1930).

Hindemith's most popular work, both on record and in the concert hall, is probably the Symphonic Metamorphosis of Themes by Carl Maria von Weber, written in 1943. It takes melodies from various works by Weber, mainly piano duets, but also one from the overture to his incidental music for Turandot (Op. 37/J. 75), and transforms and adapts them so that each movement of the piece is based on one theme.

In 1951, Hindemith completed his Symphony in B-flat. Scored for concert band, it was written for the U.S. Army Band "Pershing's Own". Hindemith premiered it with that band on 5 April of that year.[27] Its second performance took place under the baton of Hugh McMillan, conducting the Boulder Symphonic Band at the University of Colorado. The piece is representative of his late works, exhibiting strong contrapuntal lines throughout, and is a cornerstone of the band repertoire. Hindemith recorded it in stereo with members of the Philharmonia Orchestra for EMI in 1956.

Awards

• Howland Memorial Prize (1940), (highest honour awarded by Yale University)[28][1]
• Bach Prize of the Free and Hanseatic City of Hamburg (1951)[29][1]
• Order Pour le Mérite (1952)[30][29]
• Wihuri Sibelius Prize (1955)[29][1]
• Goethe Plaque of the City of Frankfurt (1955)[31]
• Balzan Prize (1963)[29][1]

Honorary doctorates

• Philadelphia Academy of Music (1945)[28]
• Columbia University (1948)[28]
• Goethe University Frankfurt (1949)[29][1]
• FU Berlin (1950)[29][1]
• Oxford University (1954)[29][1]

Works

Pedagogical writings

His complete set of instructional books (in possible educational order)

1. Elementary Training for Musicians (ISBN 978-0-901938-16-9) 1946
2. A Concentrated Course in Traditional Harmony: Book 1, Part 1—With Emphasis on Exercises and a Minimum of Rules, revised edition (ISBN 978-0-901938-42-8) New York: Schott Music, 1968
3. A Concentrated Course in Traditional Harmony: Book 2—Exercises for Advanced Students, translated by Arthur Mendel. (ISBN 978-0-901938-43-5) New York: Schott, 1964
4. The Craft of Musical Composition: Book 1—Theoretical Part, translated by Arthur Mendel (London: Schott & Co; New York: Associated Music Publishers. ISBN 978-0-901938-30-5), 1942
5. The Craft of Musical Composition: Book 2—Exercises in Two-Part Writing, translated by Otto Ortmann. (London: Schott & Co; New York: Associated Music Publishers. ISBN 978-0-901938-41-1) 1941
6. Unterweisung im Tonsatz 3: Übungsbuch für den dreistimmigen Satz [The Craft of Musical Composition: Book 3—Exercises in Three-part Writing]. Mainz: Schott 5205, ISBN 978-3-7957-1605-9, 251 pages. 1970. Only available in the original German.

Notable students

Recordings

Hindemith was a prolific composer.[32] He conducted some of his own music in a series of recordings for EMI with the Philharmonia Orchestra and for Deutsche Grammophon with the Berlin Philharmonic Orchestra, which have been digitally remastered and released on CD.[33][34] The Violin Concerto was also recorded by Hindemith for Decca/London, with the composer conducting the London Symphony Orchestra with David Oistrakh as soloist. Everest Records issued a recording of Hindemith's postwar When Lilacs Last in the Dooryard Bloom'd ("A Requiem for Those We Love") on LP, conducted by Hindemith. A stereo recording of Hindemith conducting the requiem with the New York Philharmonic Orchestra, with Louise Parker and George London as soloists, was made for Columbia Records in 1963 and later issued on CD. He also appeared on television as a guest conductor of the Chicago Symphony Orchestra's nationally syndicated "Music from Chicago" series; the performances have been released by VAI on home video. A complete orchestral music collection has been recorded by German and Australian orchestras, all released on the CPO label, recordings all conducted by Werner Andreas Albert.

Hindemithon Festival

An annual festival of Hindemith's music is held at William Paterson University in Wayne, New Jersey. It features student, staff, and professional musicians performing a range of Hindemith's works.

Media

See also

• Music written in all major and/or minor keys

References

Notes

Sources

• Ansermet, Ernest. 1961. Les fondements de la musique dans la conscience humaine. 2 v. Neuchâtel: La Baconnière.
• Briner, Andres. 1971. Paul Hindemith. Zürich: Atlantis-Verlag; Mainz: Schott.
• Bruhn, Siglind (1998). The Temptation of Paul Hindemith. Mathis der Maler as a Spiritual Testimony. Stuyvesant, NY: Pendragon Press. ISBN 978-1-57647-013-8.
• Bruhn, Siglind. 2000. Musical Ekphrasis in Rilke's Marienleben. Internationale Forschungen zur allgemeinen und vergleichenden Literaturwissenschaft 47. Amsterdam: Rodopi. ISBN 978-90-420-0800-7.
• Bruhn, Siglind. 2005. The Musical Order of the World: Kepler, Hesse, Hindemith. Interplay, no. 4. Hillsdale, NY: Pendragon Press. ISBN 978-1-57647-117-3.
• Davenport, LaNoue. 1970. ""Erich Katz: A Profile"". The American Recorder (Spring): 43–44. Retrieved 2 November 2011.
• Furtwängler, Wilhelm. 1934. "Der Fall Hindemith". Deutsche Allgemeine Zeitung 73, no. 551 (Sunday, 25 November): 1. Reprinted in Berta Geissmar, Musik im Schatten der Politik. Zürich: Atlantis, 1945. Reprinted in Wilhelm Furtwängler, Ton und Wort: Aufsätze und Vorträge 1918 bis 1954, 91–96. Wiesbaden: F.A. Brockhaus, 1954; reissued Zürich: Atlantis Musikbuch-Verlag, 1994. ISBN 978-3-254-00199-3. English version as "The Hindemith Case", in Wilhelm Furtwängler, Furtwängler on Music, edited and translated by Ronald Taylor, 117–20. Aldershot, Hants.: Scolar Press, 1991. ISBN 978-0-85967-816-2.
• Eaglefield-Hull, Arthur. (Ed.). 1924. A Dictionary of Modern Music and Musicians. London: Dent.
• Hindemith, Paul. 1937–70. Unterweisung im Tonsatz. 3 vols. Mainz, B. Schott's Söhne. First two volumes in English, as The Craft of Musical Composition, translated by Arthur Mendel and Otto Ortmann. New York: Associated Music Publishers; London: Schott & Co., 1941–42.
• Hindemith, Paul. 1952. A Composer's World, Horizons and Limitations. Cambridge: Harvard University Press.
• Holland, Bernard. 1995. "Music Review; City Opera Gamely Flirts with Danger". New York Times, 9 September.
• Kater, Michael H. 1997. The Twisted Muse: Musicians and Their Music in the Third Reich. New York and Oxford: Oxford University Press.
• Kater, Michael H. 2000. Composers of the Nazi Era: Eight Portraits. New York and Oxford: Oxford University Press.
• Kemp, Ian. 1970. Hindemith. Oxford Studies of Composers 6. London, New York: Oxford University Press.
• Neumeyer, David. 1986. The Music of Paul Hindemith. New Haven: Yale University Press.
• Noss, Luther. 1989. Paul Hindemith in the United States. Urbana: University of Illinois Press.
• Preussner, Eberhard. 1984. Paul Hindemith: ein Lebensbild. Innsbruck: Edition Helbling.
• Skelton, Geoffrey. 1975. Paul Hindemith: The Man Behind the Music: A Biography. London: Gollancz.
• Taylor, Ronald. 1997. Berlin and Its Culture: A Historical Portrait. Yale University Press. ISBN 978-0-300-07200-6.
• Taylor-Jay, Claire. 2004. The Artist-Operas of Pfitzner, Krenek and Hindemith: Politics and the Ideology of the Artist. Aldershot: Ashgate.

Further reading

• Fried, Alexander (19 February 1939). "Paul Hindemith Brings Fresh Air to Symphony". The San Francisco Examiner. San Francisco. p. 50. Retrieved 24 May 2020 – via Newspapers.com.
• Schwarze, Richard (21 November 1981). "Hindemith: He was simply a musician who produced 'music as a tree bears fruit' ... Well, not really". The Journal Herald. Dayton, Ohio. p. 27. Retrieved 23 May 2020 – via Newspapers.com.
• Desbruslais, Simon. 2019. The Music and Music Theory of Paul Hindemith. Woodbridge: Boydell Press. ISBN 978-1-78327-210-5.
• Luttmann, Stephen. 2013. Paul Hindemith: A Research and Information Guide. New York: Routledge. ISBN 978-1-135-84841-5.
• Winkler, Heinz-Jürgen (2004). "Fascinated by Early Music: Paul Hindemith and Emanuel Winternitz". Music in Art: International Journal for Music Iconography. 29 (1–2): 14–19. ISSN 1522-7464.
• Petropoulos, Jonathan. 2014. Artists Under Hitler: Collaboration and Survival in Nazi Germany. New Haven and London: Yale University Press. Ch. 5, pp. 88–113, is titled "Paul Hindemith."

External links

• Paul Hindemith Oral History collection at Oral History of American Music
• Free scores by Paul Hindemith on IMSLP at the International Music Score Library Project (IMSLP)
• Hindemith Foundation
• Hindemith Foundation Catalogue of Works
• Schott Music Publisher page
• An Inner Emigration, notes on Hindemith and Der Schwanendreher by Ron Drummond
• Paul Hindemith in conversation with Seymour Raven (7 April 1963)
• Publications by and about Paul Hindemith in the catalogue Helveticat of the Swiss National Library
• Newspaper clippings about Paul Hindemith in the 20th Century Press Archives of the ZBW

На других языках

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[de] Paul Hindemith

Paul Hindemith (* 16. November 1895 in Hanau; † 28. Dezember 1963 in Frankfurt am Main) war ein deutscher Komponist der Moderne (Neue Musik). In seiner frühen Schaffensperiode schockierte er das klassische Konzertpublikum mit provozierend neuartigen Klängen (schroffen Rhythmen, grellen Dissonanzen, Einbezug von Jazz-Elementen), was ihm den Ruf eines „Bürgerschrecks“ einbrachte. Während der Zeit des Nationalsozialismus kam es zu einem Aufführungsverbot seiner Werke, auf das er schließlich mit Emigration reagierte, zunächst in die Schweiz, dann in die USA. Unterdessen entwickelte sich seine Kompositionsweise hin zu einem neoklassizistisch geprägten Stil, der sich auf neue Weise mit klassischen Formen wie Sinfonie, Sonate und Fuge auseinandersetzte. Dabei distanzierte er sich vom romantischen Künstlerbild des allein durch Inspiration beflügelten Genies und betonte die Bedeutung der Beherrschung von kompositorischer Technik als unabdingbarer Voraussetzung für den Komponisten.[1] Die Betonung des Handwerklichen spiegelt sich auch in seinen theoretischen Schriften, insbesondere der Unterweisung im Tonsatz. Sein theoretisches System kann kurz als freie Tonalität beschrieben werden, die sich sowohl von der traditionellen Dur-Moll-Tonalität als auch von der zwölftönigen Atonalität Schönbergs abgrenzt. Er plädierte für „Gebrauchsmusik“ und sah es als Pflicht des Komponisten an, sich sozialen Herausforderungen zu stellen und nicht zum reinen Selbstzweck zu komponieren.

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- [en] Paul Hindemith

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[es] Paul Hindemith

Paul[lower-alpha 1] Hindemith (Hanau, 16 de noviembre de 1895 - Fráncfort del Meno, 28 de diciembre de 1963) fue un compositor, violista y musicólogo alemán. Hindemith está considerado como uno de los compositores más influyentes de la primera mitad del siglo XX; su aportación creadora abarca desde el expresionismo hasta el neoclasicismo, y su enorme catálogo comprende todos los géneros musicales. Ajeno y contrario al espíritu del romanticismo y el culto a la genialidad, Hindemith reivindica la artesanía y la práctica musical: “Es mejor hacer música que escucharla”.[1]

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[ru] Хиндемит, Пауль

Па́уль Хи́ндемит (нем. Paul Hindemith; 16 ноября 1895, Ханау — 28 декабря 1963, Франкфурт-на-Майне) — немецкий композитор, альтист, скрипач, дирижёр, педагог и музыкальный теоретик.

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