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Paul Hindemith: A Research and Information Guide is an annotated bibliography concerning both the nature of primary sources related to the composer and the scope and significance of the secondary sources which deal with him, his compositions, and his influence as a musician and teacher. The second edition includes research published since the publication of the first edition and provides electronic resources.

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The biographies of three composers who, in this century, have dominated the mainstream development of German music are contained in this book: Paul Hindemith (1895-1963), Karl Amadeus Hartmann (1905-63) and Hans Werner Henze (b. 1926). Despite markedly different approaches (and political sensibilities) all three have united experimentation with traditional (German) expression. Hartmann has remained an influence on Henze's music while both were influenced early in their careers by Hindemith. Although born at different times, coming from different backgrounds and locations, there are parallels between their careers, particularly during the crucial period when the Nazis were in power and in the aftermath of the German defeat. All three suffered exile or alienation from German life: Hindemith on musical, rather than ideological, grounds; Hartmann remaining in Germany but refusing to have anything to do with the Nazis or their musical establishment; and Henze, disgusted at the state of the emergent Federal Republic of West Germany after the war, leaving for Italy where he has lived ever since.This text is part of the 20th-century composers series, examining composers in a biographical context, and offering a comprehensive study of key figures in the creation of 20th-century music. None of the books in the series presume a knowledge of specialized terms or musical notation. Each book in discography.Amazon.com Review
This handy little tome consists of three portraits ofinfluential German musicians of the 20th century, apparently broughttogether for the sake of alliteration and because of a commonopposition to Nazism. Hindemith, although not actually particularlyavant-garde in his idiom, became identified in the minds of the Nazileaders with certain cultural trends they despised and was forced bythem to flee to America. Hartmann, fortunate in his wife's wealth, leda reclusive life during the Nazi period, emerging to growingpopularity in postwar Germany. Guy Rickards's greatest admiration,however, which is as much political as musical, seems to be reservedfor the not conspicuously talented Henze. This composer could stand asan archetype of the postwar-era German artist and intellectual: he wasreflexively left wing and scornful of the West and all its works. ButHenze's sometimes hypocritical preoccupation with radical politics,including the dedication of an oratorio to the Communist revolutionaryChe Guevara, and support for the discredited East German regime whileliving a life of decadent capitalist ease in Italy, may come to seemabsurd in our post-communist world. This portion of the book will beenjoyed primarily by those already convinced of the worth of Henze'soutput and politics. ... Read more

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A speech delivered on September 12, 1950 at the Bach commemoration of the city of Hamburg, Germany. ... Read more

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Renewed reprint 1971 printed in Germany. EXACTLY as titled. Klavier ED 3964. For piano 60 pages. ... Read more

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Originally published in the 1940s, Paul Hindemith's remakable textbooks are still the outstanding works of their kind. In contra
Originally published in the 1940s, Paul Hindemith's remakable textbooks are still the outstanding works of their kind. In contrast to many musical textbooks written by academic musicians, these were produced by a man who could play every instrument of the orchestra, could compose a satisfying piece for almost every kind of ensemble, and who was one of the most stimulating teachers of his day. It is therefore not surprising that nearly forty years later these books should remain essential reading for the student and the professional musician. Preface * Construction of the Simplest One-Voice Melodic Patterns * Beginning of Two-Voice Setting * Elaborated Melody (Auxiliary or Teturning Tones, Passing Tones) * Elaborated Melody (Continuation) * Principles of Melodic Construction * Elaborated Melody (Conclusion) * Tonal Higher-Units * Tonality of the Melodies * Elaboration of the Melody Model * Free Two-Voice Setting I and II ... Read more