Paul Hindemith

Britannica Concise Encyclopedia: Paul Hindemith

(born Nov. 16, 1895, Hanau, near Frankfurt am Main, German Empire — died Dec. 28, 1963, Frankfurt am Main, W.Ger.) German composer. His talent was noticed early, and he received thorough training on viola, violin, clarinet, and piano. He became concertmaster of the Frankfurt Opera at age 20, and his compositions began drawing attention at new-music festivals. Because his wife was Jewish and his music was considered "degenerate" by the Nazis, he left Germany in 1938, settling in the U.S. in 1940. Advocating Gebrauchsmusik ("useful music"), he wrote solo sonatas and concertos for many of the standard orchestral instruments. Mathis der Maler (1935) is the best known of his six operas; the symphony based on it, and the Symphonic Metamorphosis on Themes of Weber (1943), are widely performed.

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Music Encyclopedia: Paul Hindemith

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(b Hanau, nr Frankfurt, 16 Nov 1895; d Frankfurt, 28 Dec 1963). German composer. He studied as a violinist and composer (with Mendelssohn and Sekles) at the Hoch Conservatory in Frankfurt (1908-17) and made an early reputation through his chamber music and expressionist operas. But then he turned to neo-classicism in his Kammermusik no.1, the first of seven such works imitating the Baroque concerto while using an expanded tonal harmony and distinctively modern elements, notably jazz. Each uses a different mixed chamber orchestra, suited to music of linear counterpoint and, in the fast movements, strongly pulsed rhythm.

During this early period Hindemith lived as a performer: he was leader of the Frankfurt Opera orchestra (1915-23, with a break for army service), and he played the viola in the Amar-Hindemith Quartet (1921-9) as well as in the first performance of Walton's Viola Concerto (1929). Much of his chamber music was written in 1917-24, including four of his six quartets and numerous sonatas, and he was also involved in promoting chamber music through his administrative work for the Donaueschingen Festival (1923-30). However, he also found time to compose abundantly in other genres; including lieder (Das Marienleben, to Rilke poems), music for newly invented mechanical instruments, music for schoolchildren and amateurs, and opera (Cardillac, a fantasy melodrama in neo-classical forms). In addition, from 1927 he taught at the Berlin Musikhochschule.

His concern with so many branches of music sprang from a sense of ethical responsibility that inevitably became more acute with the rise of the Nazis. With the beginning of the 1930s he moved from chamber ensembles to the more public domain of the symphony orchestra, and at the same time his music became harmonically smoother and less intensively contrapuntal. Then in the opera Mathis der Maler (preceded by a symphony of orchestral excerpts) he dramatized the dilemma of the artist in society, eventually opposing Brechtian engagement and insisting on a greater responsibility to art. Nevertheless, his music fell under official disapproval, and in 1938 he left for Switzerland, where Mathis had its first performance. He moved on to the USA and taught at Yale (1940-53), but spent his last decade back in Switzerland.

His later music is in the style that he had established in the early 1930s and that he had theoretically expounded in his Craft of Musical Composition (1937-9), where he ranks scale degrees and harmonic intervals in order from most consonant (tonic, octave) to most dissonant (augmented 4th, tritone), providing a justification for the primacy of the triad. His large output of the later 1930s and 1940s includes concertos (for violin, cello, piano, clarinet and horn) and other orchestral works, as well as sonatas for most of the standard instruments. His search for an all-encompassing, all-explaining harmony also found expression in his Kepler opera Die Harmonie der Welt.

works:
Operas

Mörder, Hoffnung der Frauen (1919)
Sancta Susanna (1921)
Cardillac (1926, rev. 1952)
Hin und zurück (1927)
Neues vom Tage (1929)
Mathis der Maler (1935)
Die Harmonie der Welt (1957)
The Long Christmas Dinner (1960)

Ballets

Der Dämon (1922)
Nobilissima visione (1938)
Hérodiade (1944)
The Four Temperaments, pf str (1946)

Orchestral music

Conc. for Orch (1925)
Philharmonisches Konzert (1932)
Mathis der Maler, sym. (1934)
Sym., E♭, (1940)
Symphonic Metamorphosis on Themes of Carl Maria von Weber (1943)
Die Harmonie der Welt, sym. (1951)

Chamber orchestral music

Kammermusik no.1 (1922)
no.2 with solo pf (1924)
no.3 with solo vc (1925)
no.4 with solo vn (1925)
no.5 with solo va (1927)
no.6 with solo va d′amore (1927)
no.7 with solo org (1927)

Chamber music

6 str qts (1919, 1921, 1922, 1923, 1943, 1945)
2 str trios (1924, 1933)
numerous sonatas etc

Choral music

Das Unaufhörliche, oratorio (1931)
When Lilacs Last in the Door-yard Bloom′d (1946)
Mass (1963)

Songs

Das Marienleben (1923, rev. 1936-48)
many others

Biography: Paul Hindemith

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Paul Hindemith (1895-1963) was a prolific and versatile German composer and also an important teacher of musical composition.

Paul Hindemith was born on Nov. 16, 1895, in Hanau am Main. At the age of 9, he began violin lessons; advancing rapidly, he was soon able to enter a conservatory in nearby Frankfurt, where he studied composition. In 1923 he became concertmaster of the Frankfurt Opera orchestra. More important, however, was his career as violist, first in the Rebner Quartet and later (1922-1929) in the Amar Quartet, which toured Europe playing many major contemporary works.

In 1919 Hindemith signed his first contract with a music publisher (Schott), a connection he maintained throughout his life. That same year he wrote his first important compositions: the First String Quartet in F Minor, Op. 10, and the one-act opera Mörder, Hoffnung der Frauen. These were rapidly followed by two more stage works: Das Nusch-Nuschi, a one-act play for Burmese marionettes, and the one-act opera Sancta Susanna. All these works were controversial, and Hindemith was considered a radical. Yet, later, his music remained firmly rooted in tonality; he rejected the twelve-tone method and was not interested in electronic composition.

From 1926 to 1929 Hindemith was active in the direction of the contemporary chamber-music festivals at Donaueschingen and Baden-Baden. During these years he wrote chamber music, including chamber concertos for piano, cello, violin, viola, and organ. Cardillac (1926) was an opera of major importance in his career. In 1927 he produced typical examples of his Gebrauchsmusik, that is, music intended for specific purposes or particular occasions: the Spiel-und Jugendmusiken Music for Youth), Op. 43 and 44.

In 1927 Hindemith accepted a professorship of composition at the Staatliche Hochschule für Musik in Berlin. He remained there until 1934, when he was suspended as part of the Nazi campaign against "degenerate" (modern) music. It was under the impact of such turbulent political events that he composed his finest stage work, Mathis der Maler. Dealing with the problems and the duties of the artist in troubled times, this work draws deeply on Hindemith's own spiritual experiences while telling the story of the 16th-century German painter Matthias Grünewald. It was completed in July 1935 and premiered 3 years later in Zurich, Switzerland.

Also in 1935 Hindemith made his first journey to Turkey, where, at the request of the Turkish government, he drew up plans for the organization of Turkish musical life. While these plans were carried out over the next 2 years, he visited Turkey three more times. In 1937 he finally resigned from the Staatliche Hochschule; the following year he moved to Switzerland. In 1940 he emigrated to the United States and settled at Yale University, where he taught for the next 13 years.

During his American period Hindemith produced some of his most popular works, such as Symphonic Metamorphosis of Themes by Carl Maria von Weber (1943) and When Lilacs Last in the Door-yard Bloom'd (A Requiem for Those We Love; 1946). However, he became nostalgic for Europe and in 1953 returned to Switzerland, where he lived for the last 10 years of his life. Among the major works of these years were two operas: The Harmony of the World (1957) and The Long Christmas Dinner (1960). On his last journey to America, in 1963, he heard the first American performance of the latter work, as well as the premiere of the Concerto for Organ and Orchestra, which he had written to celebrate the opening of Philharmonic Hall in New York City. His last work, a Mass for mixed choir a cappella, was premiered in November 1963 in Vienna under his direction. On December 28 he died in Frankfurt.

Hindemith's philosophy of music is summed up in the speech he gave upon receipt of the Balzan Prize in 1963. "In which direction, " he asked, " can music still develop? Certainly not … in the ever greater extension and expansion of the limits of sound. … To express what has never been said before, the musician must enter another dimension. He must explore the heights and the depths, the heights of the spiritual and the depths of the human soul." Such rejection of new sound possibilities weakened Hindemith's influence on musical developments of the 1950s and 1960s. More influential are his theoretical textbooks, The Craft of Musical Composition (1941), Traditional Harmony (1943), and Elementary Training for Musicians (1946), which are widely used in American universities.

Biography

A theorist, teacher, violist, conductor, and composer who is regarded by many as the foremost German composer of his generation, Paul Hindemith was one of the most central figures in music between the First and Second World Wars. Born outside of Frankfurt, Hindemith moved with his family to the city in 1902. It was here, in 1904, that Hindemith began taking violin lessons. By 1908, Hindemith became a student of Adolf Rebner, a teacher at the Hoch Conservatory in Frankfurt, who arranged for Hindemith to be awarded a free place at the conservatory the following year. Although he had long been composing, Hindemith, in addition to continuing his study of the violin, began to study composition formally. However, he was forced to leave the conservatory in 1917 when he was called up for military service. He spent most of his service as a member of a regimental band stationed about 3 kilometers from the front line.

After returning from the war, Hindemith again took to the concert stage, having switched to viola in 1919. In 1923 he was invited to join the administrative committee of the Donaueschingen Festival, a group over which he exerted an ever increasing amount of control; programming works of such composers as Schoenberg and Webern. The next year he married Gertrud Rottenberg, the daughter of the conductor of the Frankfurt Opera Orchestra, an ensemble in which Hindemith had been playing. In 1927 he received an appointment as professor of composition at the Hochschule für Musik in Berlin. In addition to maintaining an active performing career, Hindemith soon developed a strong interest in teaching, and even took on an evening class at the Volksmusikschule NeuKolln.

Early in 1934, the Nazi party began a campaign to discredit Hindemith, which culminated in a boycott of the composer's works announced by the Kulturgemeinde in November of that year. In January 1935, Hindemith was given a six-month leave from the Hochschule. However, as the boycott of his music was not endorsed by the music division of the Nazi party until 1937, Hindemith was allowed not only to return to teaching, but also to undertake a series of concert tours abroad, to have his music published, and to enter into an agreement with the government of Turkey to build an organized musical life in that country. However, in 1937, Hindemith left Germany for Switzerland, and in 1940 came to the U.S.

After a series of lecture and teaching engagements which had been arranged by friends, Hindemith took a position at Yale, teaching composition and, from 1945 to 1953, conducting the Collegium Musicum. In 1946, Hindemith became an American citizen. In 1951 he accepted a position at the University of Zurich and, after retiring from Yale in 1953, took up permanent residence in Switzerland. After retiring from his post in Zurich, in 1955, he became more active as a conductor. In November 1963, he was taken ill and transferred to a hospital in Frankfurt, where he died of acute pancreatitis. ~ Stephen Kingsbury, All Music Guide

Discography

Paul Hindemith: Symphonie in B; Die Vier Temperamente

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Hindemith Conducts Hindemith: The Complete Recordings on Deutsche Grammophon

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Hindemith: Concert Music; Horn Concerto; Clarinet Concerto and others

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Paul Hindemith Performs Hindemith

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Wikipedia: Paul Hindemith

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Paul Hindemith aged 28.

Paul Hindemith (16 November 1895 – 28 December 1963) was a German composer, violist, violinist, teacher, music theorist and conductor.

1 Biography
2 Hindemith's music
- 2.1 Hindemith's musical system
3 Works
4 Pedagogical writings
5 Notable students
6 Recordings
7 Hindemithon Festival
8 Media
9 References
10 External links

Biography

Born in Hanau, Germany, Hindemith was taught the violin as a child. He entered the Hoch’sche Konservatorium in Frankfurt am Main where he studied violin with Adolf Rebner, conducting and composition under Arnold Mendelssohn and Bernhard Sekles, supporting himself by playing in dance bands and musical-comedy outfits. He became deputy leader of the Frankfurt Opera Orchestra in 1914, and was promoted to leader in 1917. He played second violin in the Rebner String Quartet from 1914. In 1921 he founded the Amar Quartet,^[1] playing viola, and extensively toured Europe.

In 1922, some of his pieces were heard 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. From 1927 he taught composition at the Berliner Hochschule für Musik in Berlin. In the 1930s he made a visit to Cairo and several visits to Ankara where (at the invitation of Atatürk) he led the task of reorganizing Turkish music education and the early efforts for the establishment of Turkish State Opera and Ballet. Towards the end of the 1930s, he made several tours in America as a viola and viola d'amore soloist.

Hindemith's relationship to the Nazis is a complicated one: some condemned his music as "degenerate" (largely on the basis of his early, sexually charged operas such as Sancta Susanna), and on December 6 1934, during a speech at the Berlin Sports Palace, Germany’s Minister of Propaganda, Joseph Goebbels publicly denounced Hindemith as an “atonal noisemaker.” Others, though, thought that he might provide Germany with an example of a modern German composer, who by this time was writing music based in tonality, and with frequent references to folk music; the conductor Wilhelm Furtwängler's defence of Hindemith, published in 1934, takes precisely this line. The controversy around his work continued throughout the thirties, with the composer falling in and out of favour with the Nazi hierarchy; he finally emigrated to Switzerland in 1938 (partly as his wife was Jewish), and in the meantime had sworn an oath to Hitler, had accepted a commission to write music for a Luftwaffe event (although it never materialised), conducted for official Nazi concerts, and accepted a position on the Reich Music Chamber. This part of Hindemith's life has until recently been downplayed by historians of the composer (such as Skelton or Kemp), who have mostly tried to assert his anti-Nazi beliefs.

In 1935, Hindemith was commissioned by the Turkish government to reorganize that country's musical education, and, more specifically, was given the task of preparing material for the “Universal and Turkish Polyphonic Music Education Programme” for all music-related institutions in Turkey, a feat which he accomplished to universal acclaim. This development seems to have been supported by the Nazi regime: it may have got him conveniently out of the way, yet at the same time he propagated a German view of musical history and education. (Hindemith himself said he believed he was being an ambassador for German culture.) Hindemith did not stay in Turkey as long as many other émigrés. Nevertheless, he greatly influenced the developments of Turkish musical life; the Ankara State Conservatory owes much to his efforts. In fact, Hindemith was regarded to be a “real master” by young Turkish musicians and he was appreciated and greatly respected.[2]

In 1940, Hindemith emigrated to the United States. At the same time that he was codifying his musical language, his teaching and compositions began to be affected by his theories, according to critics like Ernest Ansermet (1961, note to p. 42 added on an errata slip). Once in the States he taught primarily at Yale University where he had such notable pupils as Lukas Foss, Norman Dello Joio, Mel Powell, Harold Shapero, Hans Otte, Ruth Schonthal, and Oscar-winning film director George Roy Hill. During this time he also gave the Charles Eliot Norton Lectures at Harvard, from which the book A Composer's World was extracted (Hindemith 1952). He became an American citizen in 1946, but returned to Europe in 1953, living in Zürich and teaching at the university there. Towards the end of his life he began to conduct more, and made numerous recordings, mostly of his own music. An anonymous critic writing in Opera magazine in 1954, having attended a performance of Hindemith's Novità del Giorno, noted that "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".^[2] He was awarded the Balzan Prize in 1962.

Hindemith died in Frankfurt am Main from acute pancreatitis at the age of 68.

Hindemith's 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 early Arnold Schoenberg, before developing a leaner, contrapuntally complex style in the 1920s. It has been described as neoclassical,^{[citation needed]} but is very different from the works by Igor Stravinsky labeled with that term, owing more to the contrapuntal language of Bach than the Classical clarity of Mozart.

This new style can be heard in the series of works he wrote 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 which had not been in wide use since the baroque period, but which Hindemith himself played. He continued to write for unusual groups throughout his life, producing 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. It is respected in musical circles, but like most twentieth-century operas it 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. Hindemith turned some of the music from this opera into a purely instrumental symphony (also called Mathis der Maler), which is one of his most frequently performed works.

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.^[3] Hindemith later disowned the term Gebrauchsmusik, saying it was misleading.^{[citation needed]}

Hindemith's most popular work, both on record and in the concert hall, is probably the Symphonic Metamorphoses 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 April 5th of that year [3]. 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's musical system

Most of Hindemith's music uses a unique system that is tonal but non-diatonic. Like most tonal music, it is centered on a tonic and modulates from one tonal center to another, but it uses all 12 notes freely rather than relying on a scale picked as a subset of these notes. Hindemith even rewrote some of his music after developing this system. One of the key features of his system is that he ranks all musical intervals of the 12-tone equally tempered scale from the most consonant to the most dissonant. He classifies chords in six categories, on the basis of how dissonant they are, whether or not they contain a tritone, and whether or not they clearly suggest a root or tonal center. Hindemith's philosophy also encompasses melody--Hindemith strives for melodies that do not clearly outline major or minor triads.

In the late 1930s, Hindemith wrote a theoretical book The Craft of Musical Composition (Hindemith 1937–70), which lays out this system in great detail. It laid out Hindemith's compositional technique he had been using throughout the 1930s and would continue to use for the rest of his life.^{[citation needed]} Hindemith also advocated for his system as a means of understanding and analyzing the harmonic structure of other music, claiming that it has a broader reach than the traditional roman numeral approach to chords (an approach that is strongly tied to the diatonic scales). In the same book, Hindemith uses his system to analyze his own music alongside music of J.S. Bach, and even that of Arnold Schoenberg.

His piano work of the early 1940s, Ludus Tonalis is seen by many as a further example or exploration of this system.^{[citation needed]} It contains twelve fugues, in the manner of Johann Sebastian Bach, each connected by an interlude during which the music moves from the key of the last fugue to the key of the next one. The order of the keys follows Hindemith's ranking of musical intervals around the tonal center of C.

One traditional aspect of classical music that Hindemith retains is the idea of dissonance resolving to consonance. Much of Hindemith's music begins in consonant territory, progresses rather smoothly into dissonance, and resolves at the end in full, consonant chords. This is especially apparent in his "Concert Music for Strings and Brass."

Works

See List of compositions by Paul Hindemith and List of operas by Hindemith.

Pedagogical writings

Unterweisung im Tonsatz, 3 vols. (Mainz: Schott, 1937–70) [English edition, as The Craft of Musical Composition, vol. 1: Theoretical Part, trans. by Arthur Mendel (New York: Associated Music Publishers; London: Schott, 1942) & vol. 2: Exercises in Two-Part Writing, trans. by Otto Ortmann (New York: Associated Music Publishers; London: Schott, 1941)]
A Concentrated Course in Traditional Harmony (1943)
Elementary training for Musicians (1946)

Notable students

Recordings

Hindemith 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.^[4] 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.

Hindemithon Festival

A yearly festival of Hindemith's music, Hindemithon, is held at William Paterson University in Wayne, New Jersey.

Media

Kleine Kammermusic

performed by the Soni Ventorum Wind Quintet

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References

^ The Amar Quartet was founded for the Donaueschingen Festival of 1921 and was disbanded in 1929. See an account by Tully Potter, [1], and entry under Chamber-Music Players in Eaglefield-Hull 1924, 86.
^ Opera (June 1954): 348.
^ http://books.google.com.au/books?id=t8oXNX2tY8AC&pg=PA213&lpg=PA213&dq=werner+reinhart&source=web&ots=2WWOIVtnoh&sig=w3PI2T5fAS9fh9hTrtiEcpDmJ-8&hl=en&sa=X&oi=book_result&resnum=2&ct=result#PPA213,M1 Michael Syeinberg, The Concerto]
^ http://www.gramophone.net/Issue/Page/April%201987/40/824475/HINDEMITH+CONDUCTS+HINDEMITH.+%C2%AE+ORCHESTRAL+WORKS.+%C2%B0Dennis+Drain+(hn)+Philharmonia+Orchestra+I+Paul+Hindemith.+EMI+Treasury%C2%AE+EG291+1731+LEI+EG291+1734.+Nobilissima+visione%E2%80%94suite+(from+Columbia+33CX1533,+558).+Horn+Concerto+(33CX1279,+1259)8.+Konzertmusik+for+strings+and+brass,+Op.+50+(33CX1+512,+358).+Symphony+in+B+flat+major+for+concert+band+(33CX1+512,+358);http://www.amazon.com/Hindemith-Conducts-Complete-Recordings-Grammophon/dp/B0000U1NHE

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.
Eaglefield-Hull, A. (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-Jay, Claire. 2004. "The Artist-Operas of Pfitzner, Krenek and Hindemith: Politics and the Ideology of the Artist". Aldershot: Ashgate.

External links

Hindemith Foundation
Hindemith Foundation list of compositions
Schott Musik Publisher page
Art of the States: Paul Hindemith
An Inner Emigration, notes on Hindemith and Der Schwanendreher by Ron Drummond

Persondata
NAME	Hindemith, Paul
ALTERNATIVE NAMES
SHORT DESCRIPTION	German composer, violist, teacher, music theorist and conductor
DATE OF BIRTH	16 November 1895
PLACE OF BIRTH	Hanau, Germany
DATE OF DEATH	28 December 1963
PLACE OF DEATH	Frankfurt am Main

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Paul Hindemith

Biography

Discography

Contents

Biography

Hindemith's music

Hindemith's musical system

Works

Pedagogical writings

Notable students

Recordings

Hindemithon Festival

Media

References

External links