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Journal articles on the topic 'Hindemith'

Author: Grafiati

Published: 4 June 2021

Last updated: 23 February 2023

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1

Jones, Daniel A. "Paul Hindemith's Symphonic Metamorphosis of Themes by Carl Maria von Weber for Orchestra: A Historical and Analytical Perspective." Musicology Today 17, no. 1 (December 1, 2020): 60–71. http://dx.doi.org/10.2478/muso-2020-0005.

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Abstract A now standard component of orchestral and wind band repertoire, Symphonic Metamorphosis of Themes by Carl Maria von Weber was originally intended to be ballet music. This study examines the history and background surrounding Paul Hindemith's orchestral piece and demonstrates how Hindemith crafted each movement based off Weber's original piano duets and incidental orchestral music. The study was undertaken as limited information exists about the piece in its entirety, and much of what has been written primarily concerns itself with grammatical and contextual aspects of Hindemith's title. Existing analyses either only focus on a singular movement, or are limited; presumably, due to a prevailing notion that Hindemith simply orchestrated the piano pieces. Potentially exacerbating the issue may be the fact that it was not known for nearly twenty years after Symphonic Metamorphosis was premiered which Weber duets Hindemith reworked. This analysis, coupled with the background information provided, shows that Hindemith's settings transcend mere orchestrations and, in some cases, exhibit qualities of original composition. The analysis thoroughly delineates Weber's Turandot overture and three piano duets, part by part and hand by hand, to show exactly where and how Hindemith altered the original writings. The differences in overall form, measure numbers, tempi, meter, and harmony are listed. In addition, it is revealed which thematic additions, alterations, and omissions Hindemith includes.

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2

Serhiі, Dikarev. "Genre and style specifics of Sonata for Double Bass and Piano by Paul Hindemith." Aspects of Historical Musicology 24, no. 24 (October 13, 2021): 127–47. http://dx.doi.org/10.34064/khnum2-24.07.

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Statement of the problem. The works of Paul Hindemith, one of the most outstanding composers of the twentieth century, is distinguished by its universality. P. Hindemith is known as the author of a large number of sonatas for various instruments, among which is Sonata for Double Bass and Piano. The genre and style specificity of P. Hindemith’s chamber sonatas cannot be considered in isolation from the peculiarities of the instruments chosen by the composer, the sound image of which contributed to the formation of certain specific genre features. Sonata for Double Bass and Piano, which became the culmination of the development of double bass music in the composer’s work, can be considered indicative in this respect. Analysis of recent research and publications. There is a great deal of research works devoted to P. Hindemit’s compositions, particularly chamber sonatas, as well as to the peculiarities of his style. One of the most fundamental works is the monograph by T. Levaya and O. Leontieva (1974), which deals with the works of the composer. Among other researchers who turned to the work of Hindemith, we should mention B. Asafev (1975), V. Polyakov (1987), T. Morgunova (2000), V. Batanov (2016). Despite the fact that the stylistic and genre principles of P. Hindemith’s work are outlined in detail in the works of domestic musicologists, most researchers have overlooked the Sonata for Double Bass and Piano by P. Hindemith, which certainly deserves a detailed analytical understanding both in the context of the genre and in terms of the development of double bass performance. Main objective of the study. Today, Sonata for Double Bass and Piano by Paul Hindemith, the performance of which requires significant technical and artistic skill from double bass players, occupies an important place in the double bass repertoire, which is why this article is relevant. The purpose of the article is to determine the genre and style specifics of Sonata for Double Bass and Piano by P. Hindemith in order to further understand the development of solo and orchestral double bass means of expression and rapidly increase the repertoire for double bass in modern art. The scientific novelty of the article lies in the insufficient study of P.Hindemith’s double bass work in the context of Ukrainian double bass school. As a result of the structural-compositional and genre analysis it was possible to conclude about the uniqueness of Sonata for Double Bass and Piano by P. Hindemith as a vivid example of the composer’s search for non-standard means of expression, which lies in choosing the timbre of the solo instrument and the specifics of formative factors. The research methodology includes the following scientific methods: ● historiographic approach (in the aspect of clarifying the data on the double bass compositions by P. Hindemith); ● stylistic approach (in connection with the study of the composer’s work); ● genre approach (which is necessary for referring to certain genres of P. Hindemith’s work); ек ● structural and functional approach (which is used in analytical descriptions); ● comparative, which is applied in connection with the study of different editions of Sonata for Double Bass and Piano by P. Hindemith. Results. In the course of the study, a detailed structural and compositional analysis of P. Hindemith’s Sonata for Double Bass and Piano was carried out, as well as a comparative analysis of two editions of this sonata. The filling of the classical sonata form with modern musical language, the appeal to the means of polyphonic music, the introduction of the genre features of the instrumental concerto, the traditional German song Lied and operatic intonations make this work a vivid example of neoclassicism in the repertoire of double bass players around the world. The varied palette of lines and the flexibility of the imaginative sphere of the Sonata generalize the long-term composer’s search for individual means of expression in contrabass music. Conclusions. The result of the evolutionary path traversed by the double bass from a modest instrument of a symphony orchestra to a brilliant solo instrument was Sonata for Double Bass and Piano – a vivid example of P. Hindemith’s chamber work, which embodied the features of the composer’s mature period. Sonata for Double Bass and Piano by P. Hindemith poses difficult technical and artistic tasks for the performers, the solution of which must be associated not only with the use of all the skills and abilities of the musician, but also with a deep understanding of the internal structure and specifics of the compositional and dramatic solution of the author’s intention.

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3

Serhiі, Dikarev. "P. Hindemith’s Eight Pieces For Double Bass Solo: compositional and dramaturgical peculiarities." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 62, no. 62 (September 16, 2022): 41–62. http://dx.doi.org/10.34064/khnum1-62.03.

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Statement of the problem. The heritage of German composer Paul Hindemith significantly influenced the development of double bass art of the XX century. Yet, from the 1920s, the author of one of the most renowned chamber works with double bass of his time, the Sonata for Double Bass and Piano (1949), a composer, multi-instrumentalist, P. Hindemith actively involved the double bass in other works, both chamber and solo ones. The Eight Pieces for Double Bass Solo (1927) for a long time have not been the focus of attention of contemporary researchers or double bass players. However, one should not underestimate the fact that P. Hindemith turned to the double bass as an instrument capable of performing a solo work. P. Hindemith’s double bass works still receive insufficient attention from both foreign and domestic musicologists, although many aspects of the composer’s work are highlighted in the studies of E. Hartmann (2013), J. Haney (2008), D. Trippett (2007) and others. The most complete information about the Eight Pieces for Solo Double Bass is given in the Introduction by G. Schubert (1997) before the publication of these pieces, however, their analytical interpretation has not yet been the subject of special research. The purpose of our study is to identify the compositional and dramaturgical peculiarities of Hindemith’s Eight Pieces for Double Bass Solo and to determine their role in the development of the double bass “branch” in the composer’s work. The following scientific methods were used: historiographic approach to study the scientific sources devoted to P. Hindemith; structural-functional and textological approaches in analytical descriptions. As a result of the analysis it was concluded that the Eight Pieces for Double Bass Solo by P. Hindemith are unique as they are a vivid example of the composer’s search for non-standard solutions connected with choosing the solo instrument timbre and the cycle-making factors. From the 1920s, the timbre of the double bass solo in Hindemith’s works in most cases correlates with the semantic spheres of joke, parody, sarcasm or grotesque. Created for home performance with friends, Eight Pieces for Double Bass Solo present the parody direction in the composer’s work. The cycle was undoubtedly influenced by Gertrude Hindemith’s preferences and talents. Gifted not only as a singer, cellist and double bassist, but also as an actress, she played these pieces not only at private parties for friends, but also performed them on stage following all the “acting” remarks written in Hindemith’s manuscript. The Eight Pieces built by the principle of “the cycle in cycle”, and their dramaturgy is subjected not only to musical logic, but also to numerous nonmusical factors (reflected in the remarks, graphics, etc.), which determined the theatrical nature of the work. After a real flourish of Hindemith’s chamber and instrumental work in the 1920s, the composer focused mainly on symphonic genres. However, his interest in double bass didn’t exhaust itself. After many years of active work in the symphony genre, P. Hindemith again turned to it as a solo instrument in the Sonata for Double Bass and Piano – the peak of the evolution of this instrument in his music. However, the formation of the sound image of the solo double bass in the composer’s was gradual since the 1920s. The Eight Pieces for Double Bass Solo, which were an important step on this path, despite being intended for home music, laid not only the foundations of a sound image of the double bass, but also the aesthetic basis of the instrumental theater.

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4

Guerrero, Jeannie Ma. "The Presence of Hindemith in Nono's Sketches: A New Context for Nono's Music." Journal of Musicology 26, no. 4 (2009): 481–511. http://dx.doi.org/10.1525/jm.2009.26.4.481.

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Approximately two hundred leaves of Luigi Nono's sketches from 1946 to 1951 demonstrate that he was well schooled in the teachings of Paul Hindemith, a theorist and composer whose outlook and musical inclinations would seem to be altogether different from those of the younger musician. To be sure, Nono never pointed to Hindemith as a direct influence; and the aesthetic climate at Darmstadt would surely have encouraged Nono to remain quiet on this subject. Furthermore, commentators on Nono's earliest music have tended to focus on comparisons with Webern's twelve-tone technique. While such comparisons reveal much about the reception of Webern, they obscure Nono's antipointillist concern for expression and musical tension. The sketches suggest a means to reassess Nono's music by showing how Hindemith's building stones furnished a foundation for Nono's artistic diversity. In Nono's sketches, Hindemith emerges as a progressive theorist to whose teachings the younger composer would return for many years.

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5

Kowalke, Kim H. "For Those We Love: Hindemith, Whitman, and "An American Requiem"." Journal of the American Musicological Society 50, no. 1 (1997): 133–74. http://dx.doi.org/10.2307/832064.

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Hindemith's setting of Whitman's When Lilacs Last in the Dooryard Bloom'd has been called his only "profoundly American" work. However, the double entendre of its original subtitle, "An American Requiem," alluding to Brahms's Ein deutsches Requiem, mirrors Hindemith's ambivalence about his own postwar cultural identity. Although the work's intertextual links with the German polyphonic tradition extend back to Bach, "Taps" is the only overt "American" reference. But the phrase in quotation marks within the final subtitle, "A Requiem 'For those we love,' " is the incipit of a World War I hymn of commemoration, "For those we love within the veil." Hindemith quotes verbatim the melody for this hymn from the 1940 Episcopal Hymnal, which identifies it as "Gaza," a "Traditional Jewish Melody" (in turn derived from a Yigdal). The Requiem may be reinterpreted as a covert commentary on Whitman's text from the post-Holocaust perspective of Hindemith's conflicted personal and artistic circumstances.

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6

Smith, Richard Langham. "The Baroque Hindemith." Musical Times 132, no. 1782 (August 1991): 391. http://dx.doi.org/10.2307/965887.

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7

Schubert, Giselher. "Hindemith und Krenek." Die Musikforschung 35, no. 3 (September 22, 2021): 277–82. http://dx.doi.org/10.52412/mf.1982.h3.1607.

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8

Katz, Mark. "Hindemith, Toch, andGrammophonmusik." Journal of Musicological Research 20, no. 2 (January 2001): 161–80. http://dx.doi.org/10.1080/01411890108574786.

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9

Rothe, Alexander. "THE PROBLEMATIC NATURE OF HINDEMITH'S ‘DAS UNAUFHÖRLICHE’: A CRITICAL RESPONSE." Tempo 61, no. 240 (April 2007): 40–50. http://dx.doi.org/10.1017/s0040298207000125.

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The year 1930 marked the end of a brief artistic collaboration between the composer Paul Hindemith and the playwright Bertolt Brecht. This collaboration, which began in 1929, brought forth the 1929 Lehrstück and Der Lindberghflug, the latter also involving the contributions of Kurt Weill. However, this artistic relationship, which from its outset was on borrowed time, quickly deteriorated as the result of a heated disagreement regarding the 1930 Schott score of Lehrstück. In the score's preface Hindemith stressed the adaptability of the work according to the circumstances of the performers. The confrontational Brecht felt offended for what he perceived to be the subordination of his text to purely musical aims. Further, Brecht and Hindemith quarrelled on the goal underlying the didactic Lehrstück. Hindemith approached the work as a means to propagate his ideas regarding a modern audience (Laienmusik – or ‘music for the laymen’) and the new musical conventions of a Gebrauchsmusik (a complex concept developed later in the discourse).

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10

Kemp, Ian, and David Neumayer. "One View of Hindemith." Musical Times 128, no. 1738 (December 1987): 691. http://dx.doi.org/10.2307/964810.

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11

Neumeyer, David, and Guy Rickards. "Hindemith, Hartmann and Henze." Notes 53, no. 4 (June 1997): 1167. http://dx.doi.org/10.2307/899477.

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12

RONA, Bertan. "PAUL HINDEMITH “EDİTÖRE MEKTUP”." Akademik Müzik Araştırmaları Dergisi 5, no. 9 (January 5, 2019): 1–13. http://dx.doi.org/10.5578/amrj.67900.

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13

Exner, Richard, Gottfried Benn, Dieter Rexroth, and Ann Clark Fehn. "Briefwechsel mit Paul Hindemith." World Literature Today 60, no. 4 (1986): 628. http://dx.doi.org/10.2307/40142829.

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14

Neumeyer, David. "Paul Hindemith und die neue Welt: Studien zur amerikanischen Hindemith-Rezeption (review)." Notes 63, no. 2 (2006): 377–79. http://dx.doi.org/10.1353/not.2006.0156.

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15

Joseph, Charles M., and David Neumeyer. "The Music of Paul Hindemith." Journal of Music Theory 33, no. 2 (1989): 417. http://dx.doi.org/10.2307/843800.

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16

Richter, Eckhart, and David Neumeyer. "The Music of Paul Hindemith." American Music 9, no. 2 (1991): 227. http://dx.doi.org/10.2307/3051819.

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17

Hatch, Christopher, and David Neumeyer. "The Music of Paul Hindemith." Notes 44, no. 1 (September 1987): 55. http://dx.doi.org/10.2307/940983.

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18

Anderson, David E. "Neues vom Tage. Paul Hindemith." Opera Quarterly 10, no. 4 (1994): 149–51. http://dx.doi.org/10.1093/oq/10.4.149.

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19

Stanley, Glenn, and David Neumeyer. "The Music of Paul Hindemith." German Studies Review 10, no. 3 (October 1987): 614. http://dx.doi.org/10.2307/1430950.

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20

Aharonián, Coriún. "El Caso Hindemith (1895-1963)." Revista del ISM, no. 5 (November 29, 2005): 15–23. http://dx.doi.org/10.14409/ism.v1i5.511.

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21

Hinton, Stephen, and David Neumeyer. "The Music of Paul Hindemith." Music Analysis 7, no. 3 (October 1988): 356. http://dx.doi.org/10.2307/854087.

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22

Taylor-Jay, C. "Paul Hindemith und die Neue Welt: Studien zur amerikanischen Hindemith-Rezeption. By Rudiger Jennert." Music and Letters 88, no. 3 (August 1, 2007): 555–56. http://dx.doi.org/10.1093/ml/gcl127.

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23

Haney, Joel. "Slaying the Wagnerian Monster: Hindemith, Das Nusch-Nuschi, and Musical Germanness after the Great War." Journal of Musicology 25, no. 4 (2008): 339–93. http://dx.doi.org/10.1525/jm.2008.25.4.339.

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Abstract With the devastation of the First World War, Germany experienced a traumatic loss of identification with values that had been central to its prewar culture, and these emphatically included musical values. In postwar German art music, this resulted in heavy irony toward the lofty philosophical claims and musical expressiveness that the later nineteenth century had bequeathed to prewar modernism. But it also occasioned bitter attempts to reassert those values, as exemplified by the polemics of Hans Pfitzner. Prominent on both sides of this debate, which found a medium in musical composition as well as musical discourse, were issues of national identity, nationalism, and the legacy of Richard Wagner. One musical statement that attracted much notice early on was Paul Hindemith's burlesque opera Das Nusch-Nuschi, which premiered in Stuttgart in 1921. Hindemith, then beginning his rapid ascent in the postwar music scene, had based his opera on a Burmese marionette play that scandalously satirized Tristan und Isolde. There is considerable evidence of Hindemith's ironic engagement with Wagner throughout the war, and his opera——the postwar culmination of this trend——abounds with ironic evocations of Tristan. Training a critical lens on Wagner's legacy, Das Nusch-Nuschi also resonates strongly with a position then being voiced by Paul Bekker, who spoke out against Pfitzner's Wagnerian hypernationalism and called for a decisive internationalist turn in postwar German composition. Specifically, Hindemith's opera sharpens its ironic, anti-Wagnerian tone by reaching beyond German modernism to embrace the Russian ““neonationalism”” of Igor Stravinsky.

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24

Knoth, Ina. "Der kompositorische Prozess bei Paul Hindemith." Archiv für Musikwissenschaft 73, no. 4 (2016): 286–305. http://dx.doi.org/10.25162/afmw-2016-0016.

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25

Eddins, S. "Die Harmonie der Welt. Paul Hindemith." Opera Quarterly 20, no. 1 (January 1, 2004): 152–56. http://dx.doi.org/10.1093/oq/kbh024.

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26

Monchick, A. "Paul Hindemith and the Cinematic Imagination." Musical Quarterly 95, no. 4 (December 1, 2012): 510–48. http://dx.doi.org/10.1093/musqtl/gds029.

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27

Geldenhuys, Niël G. "‘Hindemith, her damit, oder weg damit, nach 1945/95?’ or Relevance of Hindemith after 1945/95?" Ars Nova 27, no. 1 (January 1995): 77–87. http://dx.doi.org/10.1080/03796489508566526.

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28

Zanarini, Gianni. "Die Harmonie der Welt of Paul Hindemith." Journal of Science Communication 04, no. 01 (March 21, 2005): C03. http://dx.doi.org/10.22323/2.04010303.

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29

McIrvine, Edward, and Michael Marissen. "Creative Responses to Bach from Mozart to Hindemith." Notes 55, no. 4 (June 1999): 896. http://dx.doi.org/10.2307/899591.

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30

Tsvetkovskaya, Tatiana A. "Paul Hindemith’s Cantata “Frau Musica” in the Context of the Participatory Musical Art Development." Observatory of Culture 18, no. 4 (October 11, 2021): 398–408. http://dx.doi.org/10.25281/2072-3156-2021-18-4-398-408.

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The article analyses the cantata “Frau Musica” by the German composer P. Hindemith. This work has come to be widely understood as an example of Gebrauchsmusik in the works of O. Leontieva, K.-D. Krabiel, M. Breivik. Gebrauchsmusik is often identified as utility music, which means that it is created for some specific purpose; but the purpose does not have to be utilitarian. In order to assess the profoundness of the composer’s concept and to clarify specifics of the descriptive term, it is necessary to go back to the basics of the theoretical debates about the social role of art that unfolded in the 1920s. Their main participants were H. Besseler and T. Adorno. A valuable source of information is the programs of music festivals in Donaueschingen and Baden-Baden, where Gebrauchsmusik was evolving as a multi-genre artistic experiment. Hindemith played the leading role in this process. It is also important to understand the reasons that prompted the composer to use M. Luther’s text in the cantata “Frau Musica”.Today the Gebrauchsmusik’s ideas — revitalization of the audience, expanding access to musical education and practical musical activities that evolve collaborative work — have gained the most relevance. According to the author’s hypothesis, “Frau Musica” can be regarded as an illustrative example of a work that combines different views on the nature of musical participation: a spiritual act, a collective work, the highest level of musical accessibility. In this particular composition, Hindemith intuitively found the most promising ways for the development of creative interaction between the composer and the listener, which subsequently led to the creation of a whole corpus of participatory works, including Tod Makover’s “City Symphonies”, Alexander Radvilovich’s “Baltic Music”, Paul Rissman’s “Supersonic”.

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31

Guerpin, Martin. "Détournements savants du jazz en France et en Allemagne (1919-1922) : Adieu New-York ! de Georges Auric et le « Ragtime » de la Suite 1922 de Paul Hindemith." Les Cahiers de la Société québécoise de recherche en musique 14, no. 2 (March 13, 2014): 69–77. http://dx.doi.org/10.7202/1023741ar.

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La plupart des travaux consacrés à l’influence du jazz dans le domaine de la musique savante s’attachent à relever les points communs et les différences de certaines oeuvres avec le modèle musical auquel elles empruntent. À partir de deux oeuvres représentatives de ces emprunts au début des années 1920, Adieu New-York ! de Georges Auric (1919) et le « Ragtime » de la Suite 1922 de Paul Hindemith, cet article propose d’élargir la perspective comparatiste à des problématiques relevant du domaine des transferts culturels, afin de dégager la dimension nationale de la réception et de l’utilisation du jazz dans la musique savante au début des années 1920, en France et en Allemagne. De quels répertoires de jazz Auric et Hindemith ont-ils pu avoir connaissance ? Comment caractériser la manière particulière dont leurs oeuvres empruntent à ces répertoires ? En quoi des spécificités nationales jouent-elles un rôle dans la manière dont les compositeurs savants utilisent le jazz dans leurs oeuvres ? Loin de chercher à reproduire fidèlement ces musiques, Adieu New-York ! et le « Ragtime » de la Suite 1922 détournent les caractéristiques musicales du jazz afin de proposer de nouvelles voies à la musique savante, hors des canons esthétiques issus du romantisme. Le jazz apparaît ainsi comme un moyen pour de jeunes compositeurs d’affirmer leur singularité. Dans le même temps, chacune de ces oeuvres emprunte paradoxalement à une musique alors clairement identifiée comme étrangère pour affirmer sa propre identité musicale nationale. Alors qu’Adieu New-York ! peut être considéré comme la mise en oeuvre de la redéfinition de l’identité musicale française proposée par Jean Cocteau dans LeCoq et l’Arlequin, le « Ragtime » de Paul Hindemith et son esthétique du laid s’inscrivent en droite ligne dans un courant expressionniste alors en vogue dans la jeune République de Weimar.

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32

Благодарская, Елена. "“Three Anecdotes for Radio”: The Fate of PauL Hindemith’s Forgotten Opus." Музыкальная академия, no. 1(774) (June 24, 2021): 114–25. http://dx.doi.org/10.34690/152.

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В данной статье рассматривается малоизвестное произведение Пауля Хиндемита, изначально названное «Три анекдота для радио» («3 Anekdoten Fur Radio»). Автор подробно описывает обстоятельства создания опуса, дополняет их сведениями из биографии композитора, соотносит с историческими событиями. На основе рукописных и документальных материалов из архива Хиндемита, и особенно его переписки с издательством Шотт, освещаются факты, связанные с исполнениями и публикацией сочинения. Дополнительно приводятся сведения о запланированных и состоявшихся премьерах, об откликах в прессе и рецензиях влиятельных музыкальных критиков того времени. The subject oF this article is the little-known work oF Paul Hindemith, which is first called “Three Anecdotes For the Radio” (“3 Anekdoten Fur Radio”). The author describes in detail the circumstances oF his appearance, supplements them with inFormation From the biography oF the composer, correlates with historical events. On the basis oF handwritten and documentary materials From the Hindemith archives and especially his correspondence with the Schott Publishing House, unknown Facts are revealed related to the perFormance and publication oF the work. Additionally, inFormation is provided on the planned and held premieres, on press responses and reviews oF influential music critics oF that time.

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33

Sediuk, I. O. "The originality of neoclassic principles reflection in the Sonata for two pianos by Paul Hindemith." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 56, no. 56 (July 10, 2020): 154–68. http://dx.doi.org/10.34064/khnum1-56.10.

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Background. The neoclassicism of the first decades of the 20th century turned to be a kind of opposition to atonalism, which captured many radical composers. The supposed “bilingualism” of neoclassicism opened wide perspectives for individual concepts realization, broadening the boundaries of new knowledge of the Baroque and early classicism. Instrumental sonata, including the Sonata for Two Pianos naturally entered the neoclassical trend mainstream in a number of others, non-symphonic classical and romantic genres, compensating for the rejection of effective dramaturgy by enhancing the contrast between the cycle’s parts, thus tending to Baroque cyclic compositions. For Paul Hindemith, whose name is always associated with this art movement, “communication” with musical past was not an instant hobby but something that determined the focus of his creative thought. Objectives. The article’s purpose is to reveal the peculiarity of neoclassic principles embodiment in the Sonata for Two Pianos by P. Hindemith, to consider its composition, semantic and structural units. Methods. The study’s methodology is based on historicism principle, which involves the study of artistic phenomena being connected with the established musical art experience, and a comprehensive approach that allows involving of different methods of music analysis. Results. Sonata for Two Pianos (1942) consists of five movements; each one has its name. P. Hindemith’s individual approach to the sonata genre is usually evaluated in terms of the artist’s refusal of traditional composition, changes in sonata form, which often includes dramatic function changing. This is due to the desire to make equal all the forms involved in the cycle, in particular the most important polyphonic ones. The movements’ names “The Bells”, “Allegro”, “Canon”, “Recitative”, “Fugue” reveal the suite’s features. “The Bells” opening the cycle show a wide range of musical associations: from French harpsichordists gravitating to sound expression to representatives of different national cultures of the 20th century. The textured thematic drawing of the part reveals another modus of play with tradition expressing itself in improvisational principle domination and Baroque fantasy revival. The Old English verse text preceding “Recitative” reminds of 16–17th century program compositions and shows connection with opera art. “Recitative” combines concise musical phrases typical for Baroque culture vocal genres and typical rhythm formulas that embody the freedom of language intonation and bring in improvisation and allusion on basso continuo. The reference to Baroque era polyphony is evidenced by “Canon” and “Fugue”. In the “Canon”, polyphonic interaction is reached by two piano parties and not by individual voices of the four-voice ensemble texture. The slow tempo Lento, the static movement of musical thought, where “step” pulsation is felt in 4/8 metrics, unusual for classic and romantic culture, the predominance of quiet sound implies tragic pathetic element in “Recitative”. These two parts, “Canon” and “Recitative”, constitute a complementary semantic pair as play modes of tragic imagery embodiment through Baroque era high style, its objective and subjective beginnings. Actually, sonata genre is represented only by the second part “Allegro” with its fast tempo, clarity of form, volitional character of the main theme, scherzo grace of the subsidiary theme, large coda. The composer maintains contrast method choosing his complex of expressive means for each exposition sections. The Sonata is finished by a grand three-theme fugue with metro-rhythmic design associated with the corresponding polyphonic music structures, and more, the initial fifth step corresponds to J. S. Bach’s “Fugue Art”. The first theme’s imperative character establishes the dramatic imagery as fundamental in Sonata’s artistic concept. Its intonational content is characterized by fourth and fifth interval structures, some of them are creating the frame of the whole cycle. The second theme is more melodic and contrasting. The bass register of the third theme in rhythmic augmentation, the wave-like pattern of its melodic line covering the range of the diminished octave, is perceived as embodying of the modern thinking tension, the “echo” of Baroque era aesthetic ideas. The artistic idea of the Sonata for Two Pianos by P. Hindemith is built on drama concentration, overcoming suite separation of the parts and reflecting the full life realities and the inviolability of Universe laws. Conclusions. Sonata for Two Pianos by P. Hindemith returns to its origins thanks to the 20th century artists’ interest to the Baroque culture, demonstrating irregular genre boundaries and the ability to maintain high polyphony means, unregulated cycle and synthesis of several compositional principles within one work. The neoclassical principles did not deprive the Sonata of being presented in that time’s social and spiritual events, and allowed it to generalize modern world conflicts with the help of established semantic and compositional units. Thus, P. Hindemith’s Sonata for Two Pianos preserves its own approach to musical experience and possibilities of ensemble technique distinguished in almost full absence of performing competition idea, dialogism in its traditional reflection while retaining the parties’ equality.

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34

Neumeyer, David, Andres Briner, Dieter Rexroth, Giselher Schubert, Luther Noss, Paul Hindemith, and Stephen Hinton. "Paul Hindemith: Leben und Werk in Bild und Text." Notes 47, no. 4 (June 1991): 1142. http://dx.doi.org/10.2307/941639.

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35

Carvalho, Helena. "O impacto do movimento expressionista em Schönberg e Hindemith." Opus 28 (December 23, 2022): 1–20. http://dx.doi.org/10.20504/opus2022.28.18.

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A evolução da linguagem musical em Hindemith e Schönberg, em dois pólos europeus de Berlim e Viena, de alguma forma se enraizou numa vertente comum nas obras de início do séc. XX, pela conexão ao movimento expressionista. Embora assumindo formas diferentes nos dois compositores, o direcionamento via um crescente atonalismo acompanhou a integração da estética expressionista, com temas de introspecção freudiana, sendo que a fragilidade psicológica explorada no Expressionismo como abordagem existencial e social se traduziu num cromatismo crescente até à dissolução total da tonalidade e, por redundância, numa anulação dos elementos constitutivos de discurso musical, enquanto o próprio discurso e a psique das personagens se fragmentavam, explorando os limites do possível ou do aceitável. Depois desta fase, cada um dos compositores seguiu o seu caminho, consolidando o seu próprio sistema musical numa reorganização cabal do material que, tendo passado por um processo de desconstrução extrema, reaparecia totalmente reorganizado.

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36

Hartmann, Ernesto. "O Melos e Harmonia Acústica (1988) de César Guerra-Peixe, Koellreutter e Hindemith: similaridades e princípios básicos." Per Musi, no. 27 (June 2013): 50–60. http://dx.doi.org/10.1590/s1517-75992013000100006.

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O Melos e Harmonia Acústica de César GUERRA-PEIXE (1988) apresenta um compêndio da atividade didática deste compositor expresso em forma de apostila. O presente trabalho busca traçar as possíveis influências comparando-o ao Caderno de Estudos com Koellreutter do próprio GUERRA-PEIXE (1944) e ao The Craft of Musical Composition de Paul HINDEMITH (1937), visando compreender melhor os pressupostos técnicos e teóricos.

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37

Melnikova, Alexandra V. "Thomas Mann and Paul Hindemith: the Myth of “Harmonia Mundi”." Music Scholarship / Problemy Muzykal'noj Nauki, no. 2 (May 2015): 89–93. http://dx.doi.org/10.17674/1997-0854.2015.2.19.089-093.

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38

Geldenhuys, Daniél G. "Paul Hindemith (1895–1963).Résumé, 25 years after his death." Ars Nova 20, no. 1 (January 1988): 6–11. http://dx.doi.org/10.1080/03796488808566468.

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39

Kowalke, Kim H. "For Those We Love: Hindemith, Whitman, and "An American Requiem"." Journal of the American Musicological Society 50, no. 1 (April 1997): 133–74. http://dx.doi.org/10.1525/jams.1997.50.1.03a00050.

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40

Drew, David. "NORTH SEA CROSSINGS. WALTER LEIGH, HINDEMITH AND ENGLISH MUSIC (2008)." Tempo 64, no. 252 (April 2010): 44–64. http://dx.doi.org/10.1017/s0040298210000185.

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This was David Drew's last published article. Completed in December 2008, it appeared in May 2009 as a contribution to “… dass alles auch hätte anders kommen können”. Beiträge zur Musik des 20. Jahrhunderts edited by Susanne Schaal-Gotthardt, Luitgard Schader and Heinz-Jürgen Winkler, published as Band XII of Frankfurter Studien, a publication of the Hindemith-Institut (Frankfurt am Main: Schott ED 20571, 2009).David Drew had discussed with the present editor a projected followup article for Tempo, to deal specifically with Walter Leigh's music for A Midsummer Night's Dream and the ideological and critical misunderstandings which he felt were beginning to envelop it as a result of its citation in Fred K. Prieberg's Musik im NS-Staat. This was presumably one of the ‘several research-projects’ ongoing to which he alludes in footnote 37. Sadly, little if any of that projected article was written down. But since the publication of ‘North Sea Crossings’ in an otherwise German-language source must inevitably have found it few English readers so far, it seemed a fitting tribute to its author to reprint it here, with profound thanks for co-operation to Schott Music GmbH & Co. KG, Mainz, to Sally Groves in particular, and the estate of David Drew.

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41

Тарасова, Н. Ю., and Б. Ю, Москальов. "The language of jazz into the instrumental suite of XX century (on the material of Suite for piano „1922ˮ by P. Hindemith and „Suite of sentimentsˮ by Y. Chugunov)." Музикознавча думка Дніпропетровщини, no. 15 (November 4, 2019): 171–85. http://dx.doi.org/10.33287/221914.

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The purpose of this article is revealing the main methods of synthesizing jazz stylistics with the means of expressiveness of music of the twentieth century in the genre context of the suite. The research methods are based on the use of musical-cultural, comparative-historical, theoretical-analytical and textual approaches. Scientific novelty. For the first time, a camera analysis of suite „1922” by P. Hindemith and „Suite of Sentimentsˮ by Y. Chugunov 1) in the context of genre updating of the suite by elements of jazz style and jazz performances, 2) in the aspect of the interaction of harmonious, accord-tonal, form-forming means of expressiveness of jazz and music of the twentieth century. Conclusions. The interaction of the jazz language with the academic tradition essentially influenced the renovations of the genre in the suites „1922ˮ by P. Hyndemith and „Suite Sentimentsˮ by Y. Chugunov. Jazz influence has contributed to: 1) individualization of the musical decision of the suite, increase of unique expressiveness (skepticism about dance in Hindemith, rich and dynamic palette of lyrical feelings, with contrast of contemplation and mobility in Chugunov); 2) release of the genre character and structure of the cycle from Baroque-classical genre-structural normativity (in the first work, the dance genres of music of the twentieth century, in the second – different emotional states, become decisive); 3) combining the form of a suite cycle (not a simple sequence of plays based on theestablished tempo principle, but a plastic improvisational transition, with the loss of the boundaries of the parts) (in „Suite of Sentiments” by Chugunov), with a through metro rhythm and internal unification with ironic author overtones expressed by harmonic, textured and rhythmic means (in the Suite „1922ˮ by Hindemith); 4) the formative role of rhythm formulas of jazz music (emphasizing weak parts, syncopation, rhythmic brokenness of melody, triple rhythm formulas and unstable formulas with small rhythmic meters), typical jazz performing techniques (fermat, „hangs”, discontinued melodies) and Latin American music of harmonic means (movement by parallel chords, active use of trio sounds, seventh chords, non-chords with alterations), jazz features of intonation (false fingering); 5) application of compositional features of ragtime, swing (cadences, improvisations, repetitions).

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42

Haney, Joel. "The Music and Music Theory of Paul Hindemith by Simon Desbruslais." Notes 76, no. 2 (2019): 268–71. http://dx.doi.org/10.1353/not.2019.0101.

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43

Warnaby, John. "Dieter Schnebel and his ‘Sinfonie X’." Tempo, no. 186 (September 1993): 26–31. http://dx.doi.org/10.1017/s0040298200003077.

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The German composer Dieter Schnebel was born in March 1930, in Lahr, Baden. He began serious piano studies at the age of 10, and made his first attempts at composition around the end of the war, in his mid-teens. His principal music studies took place at the Musik Hochschule, Freiburg from 1949 to 1952; having encountered the music of Hindemith in 1949, he became aware of Bartók, Stravinsky and the Second Viennese School during the early 1950s, and studied at the Darmstadt Ferienkurse für Neue Musik, where he came into contact with Krenek, Varèse, Adorno, Henze, Nono and Boulez.

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44

Kostakeva, Maria. "Innere Emigration und Diktatur die getarnten Botschaften in den Opern der meister aus bojana von Konstantin Iliev und der gefesselte Prometeus von Lazar Nikolov." Muzikologija, no. 4 (2004): 105–12. http://dx.doi.org/10.2298/muz0404105k.

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(nemacki) Die Frage der "inneren Emigration" in den ehemaligen kommunistischen L?ndern Europas wird an Beispielen zweier Opern der wichtigen bulgarischen Komponisten Konstantin Iliev und Lazar Nikolov untersucht. ?hnlich wie Paul Hindemith in Mathis der Maler, in Ilievs Meister aus Bojana (1962), kam die Inspiration von einer mittelalterlichen Legende her, und iM Mittelpunkt des Dramas steht das Problem der Freiheit der Sch?pfer unter der dogmatischen Gewalt. IM Gefesselten Prometeus (1972) von Nikolov ist die Hauptperson als Symbol des Protests gegen die Tyrannei und die Unterdr?ckung zu verstehen und so l?sst sich in allen Zeiten politisch interpretieren, umso mehr bei einem kommunistischen Regime.

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45

Anderson, Julian. "MESSIAEN AND THE NOTION OF INFLUENCE." Tempo 63, no. 247 (January 2009): 2–18. http://dx.doi.org/10.1017/s0040298209000011.

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In 1989, I bought a CD in Paris of the early piano music of André Jolivet. Like many non-French musicians, I had read the name of Jolivet but heard little of his music. Jolivet's reputation as Varèse's leading pupil and the extreme avant-gardist of the pre-World War II group La Jeune France seemed completely at odds with his conventional post-War music occasionally broadcast on Radio 3, such as the Concertos for Trumpet, Piano or Ondes Martenot–music which suggested not fully assimilated influences of Honegger or Hindemith, with little obviously adventurous about it in its rhythmically conservative phrasing and standard formal shapes.

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46

Thym, Jürgen. "Über Hindemith und Andere: Gesammelte Aufsätze zur Musik 1983–2020 by Günther Metz." Notes 78, no. 4 (June 2022): 552–55. http://dx.doi.org/10.1353/not.2022.0056.

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47

Kim, Kyunh Eun. "The Meaning of ‘Concerto’ in “Concerto for Orchestra Op. 38” by Paul Hindemith." Journal of Music and Theory 36 (June 30, 2021): 39–62. http://dx.doi.org/10.36364/jmt.36.2.

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48

Ordoñana, Jose A., and Ana Laucirica. "Lerdahl and Jackendoff's Grouping Structure Rules in the Performance of a Hindemith Sonata." Spanish journal of psychology 13, no. 1 (May 2010): 101–11. http://dx.doi.org/10.1017/s113874160000370x.

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In the last decades, musical cognitive psychology has intervened to build a bridge towards the comprehension of musical structures. The present paper studies the behavior of several students and music professionals in relation to grouping structure and it does so through the performance analysis of the first movement of Hindemith's sonata for flute and piano, according to the rules formulated by Lerdahl and Jackendoff, movement chosen because of its tonal ambiguity. The participants of this experiment are three medium level female Conservatory students. They performed the aforementioned piece after studying it for a whole trimester. The performance of the same piece by three professional musicians was also analyzed, using the appropriate commercial recordings for this purpose. This analysis includes the choice of group limits used in performance by both professionals and students and the comparison of both groups' results. Differences were observed in the placement of said limits by the different groups but all of them respected the set of rules formulated by Lerdahl and Jackendoff.

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49

Rickards, Guy. "Berlin: Hindemith's ‘Klaviermusik mit orchester’." Tempo 59, no. 233 (June 21, 2005): 55–56. http://dx.doi.org/10.1017/s0040298205260230.

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Paul Wittgenstein's commissioning of concertos for piano left-hand is as enviable a legacy as any performer could wish to have, centred as it is on concertos by Korngold, Franz Schmidt (who also penned for Wittgenstein a set of Concertante Variations on a theme of Beethoven with orchestra and three piano quintets), Richard Strauss, Prokofiev, Britten (his op. 21 Diversions) and Ravel. Yet the maimed pianist's quixotic attitude to the works he received is almost as remarkable. Ravel he offended by the liberties he took with the solo part, while Prokofiev's Concerto No. 4 languished unplayed for a quarter of a century, until three years after the composer's death. Yet these cases pale into insignificance compared to the treatment meted out to the concerto that Paul Hindemith wrote for Wittgensein in 1923.

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50

TRIPPETT, DAVID. "Composing Time: Zeno's Arrow, Hindemith's Erinnerung, and Satie's Instantanééisme." Journal of Musicology 24, no. 4 (2007): 522–80. http://dx.doi.org/10.1525/jm.2007.24.4.522.

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The concept of linear time as an irreversible succession of events dates back to the late 18th century. Though fundamental to the experience of music written thereafter, time's pure linearity was dented by technologies of mechanical reproduction during the early 20th century. Imagining possible temporal zigzags provided modernists such as Paul Hindemith and Renéé Clair with mechanical paradigms through which to explore the manipulation of time and motion——as infinitely divisible properties——in the decade that witnessed Lindbergh's transatlantic flight, the first radio broadcasts, and an increasing addiction to Edison's Duplex Telegraph wire. Apart from the modernism that exists on the historical timeline, this essay looks for a structural homology between historical and musical events in attempting to establish a distinct ““modernism of time”” for the 1920s; it argues that differing concepts of time were reflected in certain pieces from the early 20th century. Hindemith's one-act operatic epigram Hin und Zurüück (1927) plays with conceptions of time as a narrative of reversal from domestic disaster to ““happy beginning.”” The music, running forward and backward, evokes different processes of memory to illustrate this ““Time Axis Manipulation”” as it is intuitively lived by the stage characters. Clair's contrasting Dadaeque film Entr'acte (1924), set to Satie's music, is an illogical picture sequence that also embodies a construction of time, Instantanééisme, but denies that it can be understood. Both works were conceived as proportional, imperfect mirror forms, indicating an implicit temporal reversal, though from antithetical perspectives. Drawing on the master paradigm of Zeno's arrow, this enquiry explores qualities of musical and visual time as both construction and manipulation of the modernist imagination.

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