Paul Hindemith (1895-1963) was a German composer, violist, violinist, teach… Read Full Bio ↴Paul Hindemith (1895-1963) was a German composer, violist, violinist, teacher, and conductor.
Born in Hanau, Germany on the 16th November 1895, Hindemith was taught the violin as a child. He entered the Hoch'sche Konservatorium in Frankfurt am Main where he studied conducting, composition and violin under Arnold Mendelssohn and Bernhard Sekles, supporting himself by playing in dance bands and musical-comedy outfits. He led the Frankfurt Opera orchestra from 1915 to 1923 and played in the Rebner string quartet in 1921 in which he played second violin, and later the viola. In 1929 he founded the Amar Quartet, 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 and in the 1930s he made several visits to Ankara where he led the task of reorganising Turkish music education. Towards the end of the 1930s, he made several tours of America as a viola and viola d'amore soloist.
Despite protests from the conductor Wilhelm Furtwängler, his music was condemned as "degenerate" by the Nazis, and in 1940 he emigrated to the U.S.A. At the same time that he was codifying his musical language, his teaching began to be affected by his theories. At this time he taught primarily at Yale University where he had such notable pupils as Lukas Foss, Norman Dello Joio, Harold Shapero, and Ruth Schonthal. During this time he also held the Charles Eliot Norton Chair at Harvard, from which the book A Composer's World was extracted. 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. He was awarded the Balzan Prize in 1962.
Hindemith died in Frankfurt am Main on the 28th December 1963 from acute pancreatitis.
Born in Hanau, Germany on the 16th November 1895, Hindemith was taught the violin as a child. He entered the Hoch'sche Konservatorium in Frankfurt am Main where he studied conducting, composition and violin under Arnold Mendelssohn and Bernhard Sekles, supporting himself by playing in dance bands and musical-comedy outfits. He led the Frankfurt Opera orchestra from 1915 to 1923 and played in the Rebner string quartet in 1921 in which he played second violin, and later the viola. In 1929 he founded the Amar Quartet, 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 and in the 1930s he made several visits to Ankara where he led the task of reorganising Turkish music education. Towards the end of the 1930s, he made several tours of America as a viola and viola d'amore soloist.
Despite protests from the conductor Wilhelm Furtwängler, his music was condemned as "degenerate" by the Nazis, and in 1940 he emigrated to the U.S.A. At the same time that he was codifying his musical language, his teaching began to be affected by his theories. At this time he taught primarily at Yale University where he had such notable pupils as Lukas Foss, Norman Dello Joio, Harold Shapero, and Ruth Schonthal. During this time he also held the Charles Eliot Norton Chair at Harvard, from which the book A Composer's World was extracted. 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. He was awarded the Balzan Prize in 1962.
Hindemith died in Frankfurt am Main on the 28th December 1963 from acute pancreatitis.
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02Kammermusik No. 1, Op.24 No.1: II. Mässig schnelle Halbe. Sehr streng im Rhythmus3:03Paul Hindemith
04Hindemith: Kammermusik No. 1 for 12 Solo Instruments, Op. 24 No. 1: IV. Finale 1921 (Lebhaft)6:05Paul Hindemith
05Hindemith: Kammermusik No. 7 for Organ and Orchestra, Op. 46 No. 2: II. Sehr langsam und ganz ruhig3:10Paul Hindemith
06Kammermusik Nr.2: Sehr langsame Achtel - Etwa doppelt so schnell - Im ersten Zeitmass (doffelt so langsam)8:36Paul Hindemith
07Hindemith: Kammermusik No. 2 for Piano and 12 Instruments, Op. 36 No. 1: III. Kleines Potpourri (Sehr lebhafte Viertel)1:37Paul Hindemith
08Hindemith: Kammermusik No. 2 for Piano and 12 Instruments, Op. 36 No. 1: IV. Finale. Schnelle Viertel - Fugato. Ein wenig ruhiger5:39Paul Hindemith
09Hindemith: Kammermusik No. 3 for Cello and 10 Instruments, Op. 36 No. 2: I. Majestätisch und stark (Mässig schnelle Achtel)2:19Paul Hindemith
10Hindemith: Kammermusik No. 6 for Viola and Chamber Orchestra, Op. 46 No. 1: IV. Lebhaft, wie früher4:14Paul Hindemith
11Kammermusik Nr.3: Sehr ruhige und gesmessen schreitende Viertel - Im gleichen ruhigen Zeitmass - Sehr ruhig7:16Paul Hindemith
12Hindemith: Kammermusik No. 3 for Cello and 10 Instruments, Op. 36 No. 2: IV. Mässig bewegte Halbe. Munter aber immer gemächlich2:51Paul Hindemith
13Kammermusik No. 4 (Violinlkonzert) für Solo-Violine und grösseres Kammerorchester Op. 36 No. 3: I. Signal. Breite, majestätische Halbe - (original version)2:07Paul Hindemith
14Kammermusik No. 4 (Violinlkonzert) für Solo-Violine und grösseres Kammerorchester Op. 36 No. 3: II. Sehr lebhaft5:41Paul Hindemith
15Kammermusik No. 4 (Violinlkonzert) für Solo-Violine und grösseres Kammerorchester Op. 36 No. 3: III. Nachtstück. Massig schnelle Achtel7:54Paul Hindemith
16Kammermusik No. 4 (Violinlkonzert) für Solo-Violine und grösseres Kammerorchester Op. 36 No. 3: IV. Lebhafte Viertel -3:25Paul Hindemith
17Kammermusik No. 4 (Violinlkonzert) für Solo-Violine und grösseres Kammerorchester Op. 36 No. 3: V. So schnell wie möglich2:03Paul Hindemith
18Kammermusik No. 5 (Bratsche-Konzert) für Solo-Bratsche und grösseres Kammerorchester Op. 36 No. 4: I. Schnelle Halbe3:59Paul Hindemith
19Kammermusik No. 5 (Bratsche-Konzert) für Solo-Bratsche und grösseres Kammerorchester Op. 36 No. 4: II. Langsam8:46Paul Hindemith
20Kammermusik No. 5 (Bratsche-Konzert) für Solo-Bratsche und grösseres Kammerorchester Op. 36 No. 4: III. Mässig schnell3:17Paul Hindemith
21Kammermusik No. 5 (Bratsche-Konzert) für Solo-Bratsche und grösseres Kammerorchester Op. 36 No. 4: IV. Variante eines Militärmarsches2:58Paul Hindemith
22Hindemith: Kammermusik No. 6 for Viola and Chamber Orchestra, Op. 46 No. 1: I. Mässig schnell, majestätisch - Doppelt so schnell3:29Paul Hindemith
23Hindemith: Kammermusik No. 6 for Viola and Chamber Orchestra, Op. 46 No. 1: II. Langsam - Sehr zart und ruhig6:43Paul Hindemith
24Hindemith: Kammermusik No. 6 for Viola and Chamber Orchestra, Op. 46 No. 1: III. Variationen (Mässig schnell bewegt)4:24Paul Hindemith
26Hindemith: Kammermusik No. 7 for Organ and Orchestra, Op. 46 No. 2: I. Nicht zu schnell3:11Paul Hindemith
29Der Schwanendreher · Konzert nach alten Volksliedern für Viola und kleines Orchester: I. Zwischen Berg und tiefem Tal8:12Paul Hindemith
30Der Schwanendreher · Konzert nach alten Volksliedern für Viola und kleines Orchester: II. Nun Laube, Lindlein, Laube - Fugato: Der Gutzgauch auf dem Zaune saß9:09Paul Hindemith
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Hindemith: Kammermusik 1-7 & Der Schwanendreher
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