This article argues that in the late 1920s, the German genre of Zeitoper paradoxically became an essential component of the search for a new kind of uniquely American opera, resulting in a transatlantic cycle of mutual influence. This... more
This article argues that in the late 1920s, the German genre of Zeitoper paradoxically became an essential component of the search for a new kind of uniquely American opera, resulting in a transatlantic cycle of mutual influence. This influence was possible because Germans and Americans alike saw the United States as the embodiment of modern life and technology. American producers and composers thus adapted German Zeitoper to bring it more in line with Americans’ self-image. I examine this dynamic by juxtaposing two German and two American Zeitopern, looking specifically at their engagement with jazz, film, race, and American popular musical theater: Paul Hindemith’s Hin und zuruck, Marc Blitzstein’s Triple-Sec (inspired by Hindemith’s opera), Ernst Krenek’s Jonny spielt auf in the United States, and the unsuccessful effort to stage George Antheil’s Transatlantic (modeled on Jonny and revised under the mentorship of Krenek) in New York. Both Germans’ image of America and Americans’ self-image were as much real as imagined, and although the similarities between them facilitated this cultural exchange, their differences also impeded it.
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- by John Gabriel
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- by Wai Ling Cheong
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Sovint s’ha dit que les obres instrumentals de Hindemith estan exemptes de significat. Tot i així, la Sonata per a trompa contralt i piano –posteriorment autoritzada pel compositor alemany per a saxo–, escrita l’any 1943 als Estats Units,... more
Sovint s’ha dit que les obres instrumentals de Hindemith estan exemptes de significat. Tot i així, la Sonata per a trompa contralt i piano –posteriorment autoritzada pel compositor alemany per a saxo–, escrita l’any 1943 als Estats Units, conté un poema que teòricament ha de ser recitat pels intèrprets i que afecta a la composició del quart moviment. Aquesta sonata s’interpreta més sovint amb saxo que no pas amb trompa, i és per això que ens hem de preguntar si té sentit recitar el poema, ja que aquest es refereix a una trompa del correu. A més, en el segon moviment, que té 189 compassos, apareix una cèl·lula rítmica de quatre compassos que es repeteix setze vegades seguides –cosa inèdita en la música de Hindemith– entre el paper de la trompa i el del piano. Aquest ritme es pot associar a un missatge en codi Morse relacionat amb el pintor suís del segle XVI, Niklaus Manuel Deutsch. En aquest article analitzaré el poema i quina relació té amb el conjunt de la sonata i amb tot el corpus musical de Hindemith, així com la intertextualitat que representa aquesta referència a Niklaus Manuel en relació a l’òpera del mateix Hindemith Mathis der Maler (Maties el pintor) i amb la història de l’art en general.
- by Ferran Planas Pla
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A menudo se ha dicho que las obras instrumentales de Hindemith están libres de significado. No obstante, la Sonata para trompa contralto i piano –posteriormente autorizada por el compositor alemán para saxo–, escrita el año 1943 en... more
A menudo se ha dicho que las obras instrumentales de Hindemith están libres de significado. No obstante, la Sonata para trompa contralto i piano –posteriormente autorizada por el compositor alemán para saxo–, escrita el año 1943 en Estados Unidos, contiene un poema que teóricamente debe ser recitado por los intérpretes y que afecta a la composición del cuarto movimiento. Esta sonata se interpreta más a menudo con saxo que con trompa; es por esta razón que debemos preguntarnos si tiene sentido recitar el poema, ya que hace referencia a una trompa del correo. Además, en el segundo movimiento, que tiene 189 compases, aparece una célula rítmica de cuatro compases que se repite dieciséis veces seguidas –cosa inédita en la música de Hindemith– entre el papel de la trompa y el del piano. Este ritmo puede ser asociado a un mensaje en código Morse relacionado con el pintor suizo del siglo XVI Niklaus Manuel Deutsch. En este articulo contextualizaré la obra y los motivos de su composición y haré un análisis del poema para establecer las relaciones que se dan con el conjunto de la sonata y en todo el corpus musical de Hindemith, así como la intertextualidad que representa esta referencia a Niklaus Manuel en relación a la ópera del mismo Hindemith Mathis der Maler y con la historia del arte en general.
- by Ferran Planas Pla
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Review of Timothy Olsen's CD anthology THE GERMAN MUSE, issued on the Raven label.
- by R J Stove
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INTRODUÇÃO A idéia de comparar dois métodos de contraponto, separados um do outro por dois séculos, merece uma introdução. O termo ' contraponto ' , do latim con-trapunctus, significa nota-contra-nota e foi usado a partir do século XIV... more
INTRODUÇÃO A idéia de comparar dois métodos de contraponto, separados um do outro por dois séculos, merece uma introdução. O termo ' contraponto ' , do latim con-trapunctus, significa nota-contra-nota e foi usado a partir do século XIV para indicar a combinação de linhas melódicas simultâneas, de acordo com um siste-ma de regras estabelecidas. A aplicação do termo é tão ampla que se confunde com a própria idéia de composição em estilo polifônico. Foram escritos diversos tratados sobre o assunto, quase sempre apresentando vastas especulações de cu-nho não apenas musical, mas também filosófico, científico e religioso, princi-palmente no que diz respeito à origem e à natureza dos intervalos. O Gradus ad Parnassum (1725) de Johann Joseph Fux (1660-1741) é um clás-sico no gênero. Em The craft of musical composition , Paul Hindemith (1895-1963) compara
as condições de seu tempo àquelas descritas por Fux e propunha a criação de “uma nova técnica que, atuando a partir dos sólidos fundamentos das leis naturais”, possibilitasse um uso adequado dos novos recursos musicais.
as condições de seu tempo àquelas descritas por Fux e propunha a criação de “uma nova técnica que, atuando a partir dos sólidos fundamentos das leis naturais”, possibilitasse um uso adequado dos novos recursos musicais.
- by Guilherme Sauerbronn
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The player piano promises a new kind of absolute music to its listener, free from a performer's personal influence or error, but the achievement of absolute music remains elusive even in its mechanical execution. Moreover, mechanical... more
The player piano promises a new kind of absolute music to its listener, free from a performer's personal influence or error, but the achievement of absolute music remains elusive even in its mechanical execution. Moreover, mechanical music reshapes the definition of absolute music by allowing composers to explore music without the pianist-as-mediator influencing the musical product. In this paper I will show how the player piano revises standard definitions of absolute music — music about music, defined by Ashby (2010), Bonds (2014), Dahlhaus (1995), Goehr (1992), and others — by suggesting a performance without the present, laboring body and fallible emotive interpretation of a human pianist. Rather than seeking clarity, the paper sheds light on one problem within the discourse on absolute music: its shifting status after the advent of mechanical reproduction. I support my discussion with analyses of original works for player piano, each representing a different stage of the player piano's rise, peak, and fall: 1) Stravinsky's Étude pour Pianola (1917), 2) Casella's Trois Pièces pour Pianola (1921) and Hindemith's Toccata für Mechanisches Klavier (1926), and 3) Nancarrow's Study No. 2 (from between 1948 and 1960). My analyses of these pieces show how early twentieth-century composers take advantage of (or ignore) the possibilities the piano keyboard affords when unlimited by the pianist's ten fingers. Composers exploited the player piano as medium because the mechanical performer does not interpret a work — it plays from the data on the roll. In so doing, the player piano suggests a mechanically perfect musical absolute.
- by Allison Wente
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Booklet of the CD with the world premier recording of Silvestre Revueltas La noche de los mayas (The Night of the Mayas, Paul Hindemith’s Suite in two movements) and Concierto No 2 Hispano by Juan Trigos. Some ideas about Paul Hindemith’s... more
Booklet of the CD with the world premier recording of Silvestre Revueltas La noche de los mayas (The Night of the Mayas, Paul Hindemith’s Suite in two movements) and Concierto No 2 Hispano by Juan Trigos. Some ideas about Paul Hindemith’s Suite, based upon Revueltas film music, compared also with Limantour’s version. The booklet contains as well a brief recount about Concerto Hispano’s origin and a small structural description. Recorded in 2013 by Tempus Fugit Orchestra, Christian Gohmer –direction–, Raúl Zambrano –guitar. Quindecim Recordings 2013 (QP 239). Notes by Raúl Zambrano. Translated by Martha Celis.
www.raulzambrano.com
Gramophone UK review:
https://www.gramophone.co.uk/review/revueltas-la-noche-de-los-mayas-trigos-concerto-no-2
www.raulzambrano.com
Gramophone UK review:
https://www.gramophone.co.uk/review/revueltas-la-noche-de-los-mayas-trigos-concerto-no-2
- by Raúl Zambrano
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Livret du CD Revueltas – Trigos, avec le premier enregistrement mondial de La noche de los mayas de Silvestre Revueltas (Suite en deux mouvements de Paul Hindemith) et du Concerto No 2 Hispano pour guitare et orchestra de Juan Trigos.... more
Livret du CD Revueltas – Trigos, avec le premier enregistrement mondial de La noche de los mayas de Silvestre Revueltas (Suite en deux mouvements de Paul Hindemith) et du Concerto No 2 Hispano pour guitare et orchestra de Juan Trigos. Réflexions autour de la Suite de Paul Hindemith basée sur la musique de Revueltas pour le film homonyme, en la comparant avec celle de José Limantour. On y trouve aussi une brève description à l’origine du Concerto Hispano, et des idées liées à sa structure. Tempus Fugit Orchestra sous la direction de Christian Gohmer, Raúl Zambrano guitare. Quindecim Recordings 2013 (QP 239). Texte de Raúl Zambrano. Traduction de Sophie Gewinner
www.raulzambrano.com
Gramophone critique:
https://www.gramophone.co.uk/review/revueltas-la-noche-de-los-mayas-trigos-concerto-no-2
www.raulzambrano.com
Gramophone critique:
https://www.gramophone.co.uk/review/revueltas-la-noche-de-los-mayas-trigos-concerto-no-2
- by Raúl Zambrano
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Cuadernillo del CD Revuletas – Trigos con la primera grabación mundial de La noche de los mayas de Silvestre Revueltas (Suite en dos movimientos de Paul Hindemith) y del Concierto No 2 Hispano para guitarra y orquesta de Juan Trigos.... more
![Mondial Mondial](/uploads/1/2/4/9/124921619/868159426.jpg)
Cuadernillo del CD Revuletas – Trigos con la primera grabación mundial de La noche de los mayas de Silvestre Revueltas (Suite en dos movimientos de Paul Hindemith) y del Concierto No 2 Hispano para guitarra y orquesta de Juan Trigos. Reflexiones en torno a las versiones de concierto creadas por Paul Hindemith y José Limantour en torno a la música de Revueltas para el filme La noche de los mayas. Descripción del origen y la estructura del Concierto No 2 Hispano para guitarra de Juan Trigos. Orquesta Tempus Fugit, Christian Gohmer–dirección–, Raúl Zambrano –guitarra–. Quindecim Recordings 2013 (QP 239). Notas de Raúl Zambrano.
www.raulzambrano.com
Crítica en Gramophone UK:
https://www.gramophone.co.uk/review/revueltas-la-noche-de-los-mayas-trigos-concerto-no-2
www.raulzambrano.com
Crítica en Gramophone UK:
https://www.gramophone.co.uk/review/revueltas-la-noche-de-los-mayas-trigos-concerto-no-2
- by Raúl Zambrano
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“Hindemith’in Ses İşçiliği Başlıklı Kitabı Üzerine”, YKY Sanat Dünyamız, Sayı: 103, 2007.
- by gulcin ozkisi
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The music theory of composer Paul Hindemith (1895-1963), originally entitled Unterweisung im Tonsatz, is well known, yet poorly understood. This book provides a critical engagement with Hindemith's Unterweisung, particularly concerning... more
The music theory of composer Paul Hindemith (1895-1963), originally entitled Unterweisung im Tonsatz, is well known, yet poorly understood. This book provides a critical engagement with Hindemith's Unterweisung, particularly concerning its relationship to existing acoustic music theories. By examining different Unterweisung-versions, it charts the evolution of Hindemith's use of language and mode of communication, including his reference to polytonality, atonality, Fuxian species counterpoint, and avoidance of existing music for his examples. It also elaborates the source material on which the theory is based, using a reconstruction of Hindemith's personal library.
Central to the book is the relationship of Hindemith's Unterweisung to his compositional practice. Hindemith's fascination with the challenges of music theory falls into a middle period in his oeuvre, enabling profitable comparisons with his compositional practice both before and after his theory-making. The book also comprises a detailed discussion of Hindemith's theoretical and compositional legacy. Beginning with an overview of existing polemics, it draws together unpublished materials from the Yale Hindemith Institute with reminiscences from former students to construct an Unterweisung reception history. The book shows that, while many areas of Hindemith's theory have been overtaken by recent interests in music theory that relate to cognition and geometry, his influence has been deeply felt.
Central to the book is the relationship of Hindemith's Unterweisung to his compositional practice. Hindemith's fascination with the challenges of music theory falls into a middle period in his oeuvre, enabling profitable comparisons with his compositional practice both before and after his theory-making. The book also comprises a detailed discussion of Hindemith's theoretical and compositional legacy. Beginning with an overview of existing polemics, it draws together unpublished materials from the Yale Hindemith Institute with reminiscences from former students to construct an Unterweisung reception history. The book shows that, while many areas of Hindemith's theory have been overtaken by recent interests in music theory that relate to cognition and geometry, his influence has been deeply felt.
- by Simon Desbruslais
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The famous theory of the “anxiety of influence” (Harold Bloom) seems to be insufficient to explain the admiration and reverence for Bach which highly different composers such as Mahler and Reger, Schoenberg and Shostakovich, and Webern... more
The famous theory of the “anxiety of influence” (Harold Bloom) seems to be insufficient to explain the admiration and reverence for Bach which highly different composers such as Mahler and Reger, Schoenberg and Shostakovich, and Webern and Schnittke have expressed through their work. Despite all their differences and possible anxieties, each of these composers consciously and specifically chose Bach as his desired partner in an imaginary dialogue with the past. At the same time, the image of Bach that each composer created was very different, as is typical in interpreting the abstract drawings of a Rorschach test; therefore, each ‘portrait’ of Bach was also, in a way, a self-reflection of the composer. The main question to be investigated in this article is the reason(s) for the unique persistence of Bach’s influence into the 20th century, incomparable even to that of other major composers of the past. Several crucial points connected with this Bach-renaissance will be examined in an attempt to understand why.
- by Yulia Kreinin
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Operas that refer to August Strindberg's texts have been written since the early 20th century. Even before that, Strindberg himself developed first ideas on operatic transpositions of his texts. This study is an extensive discussion on... more
Operas that refer to August Strindberg's texts have been written since the early 20th century. Even before that, Strindberg himself developed first ideas on operatic transpositions of his texts. This study is an extensive discussion on the productive reception of Strindberg in opera until 1930. The comprehensive approach applied here also includes unperformed operas, unmarked references to Strindberg and Strindberg's own operatic poetics.
Strindberg's notions on opera production are discussed in terms of systematic categories such as choice of texts, textual transposition and musical setting. Fractures and incoherencies among these ideas are due to the different contexts in which they are developed.
References to Strindberg's texts in operas are analytically differentiated by means of intertextual and intermedial typologies. Operatic transpositions form an extensive category of related reference types: Axel Strindberg's 'I Luther's barndomshem', Ture Rangström's 'Kronbruden', Julius Weismann's Strindberg-operas 'Schwanenweiß', 'Ein Traumspiel' and 'Die Gespenstersonate' as well as Julius Röntgen's 'Samûm'. Different practices of textual and musical transposition are demonstrated. These differences are connected to the individuality of the strategies of different composers, as well as to the individuality of the transposed texts.
In its first phase, which can be delimited to the time up to 1930, the operatic reception of Strindberg is primarily a German-language phenomenon. Accordingly it is mediated by translations and connected to the genera German reception of Strindberg. With regard to unmarked references to Strindberg in operas of Paul Hindemith, Hugo von Hofmannsthal and Arnold Schönberg, individual reception is of special significance. The conclusion that such references from instances of productive reception is based on an analysis, the results of which cannot always be definite.
Hindemith's reception of Strindberg is manifested intertextually in his drama-text 'Ein neues Traumspiel'. It also has a mediating significance for Hindemith's choice of expressionist dramas for operatic transposition. Hofmannsthal's libretto 'Die Frau ohne Schatten' contains an interfigural reference to Strindberg's 'Ett drömspel'. Schönberg's enthusiastic interest in Strindberg manifests itself in various aspects, which even include references in his theoretical texts. Thematic and dramaturgical references to Strindberg in each of Schönberg's four operas are discussed systematically. Schönberg's efforts not to be recognized as someone else's recipient are problematized. The roles of the librettists Marie Pappenheim and Gertrud Schönberg are also taken into consideration.
Strindberg's notions on opera production are discussed in terms of systematic categories such as choice of texts, textual transposition and musical setting. Fractures and incoherencies among these ideas are due to the different contexts in which they are developed.
References to Strindberg's texts in operas are analytically differentiated by means of intertextual and intermedial typologies. Operatic transpositions form an extensive category of related reference types: Axel Strindberg's 'I Luther's barndomshem', Ture Rangström's 'Kronbruden', Julius Weismann's Strindberg-operas 'Schwanenweiß', 'Ein Traumspiel' and 'Die Gespenstersonate' as well as Julius Röntgen's 'Samûm'. Different practices of textual and musical transposition are demonstrated. These differences are connected to the individuality of the strategies of different composers, as well as to the individuality of the transposed texts.
In its first phase, which can be delimited to the time up to 1930, the operatic reception of Strindberg is primarily a German-language phenomenon. Accordingly it is mediated by translations and connected to the genera German reception of Strindberg. With regard to unmarked references to Strindberg in operas of Paul Hindemith, Hugo von Hofmannsthal and Arnold Schönberg, individual reception is of special significance. The conclusion that such references from instances of productive reception is based on an analysis, the results of which cannot always be definite.
Hindemith's reception of Strindberg is manifested intertextually in his drama-text 'Ein neues Traumspiel'. It also has a mediating significance for Hindemith's choice of expressionist dramas for operatic transposition. Hofmannsthal's libretto 'Die Frau ohne Schatten' contains an interfigural reference to Strindberg's 'Ett drömspel'. Schönberg's enthusiastic interest in Strindberg manifests itself in various aspects, which even include references in his theoretical texts. Thematic and dramaturgical references to Strindberg in each of Schönberg's four operas are discussed systematically. Schönberg's efforts not to be recognized as someone else's recipient are problematized. The roles of the librettists Marie Pappenheim and Gertrud Schönberg are also taken into consideration.
- by Florian Heesch
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Note di sala in italiano e inglese per i concerti del Quartetto di Venezia all'auditorium Squero presso la Fondazione Giorgio Cini
- by Mauro Masiero
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- by Maria Goeth
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- by Wiebke Rademacher
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Emanuel Winternitz is remembered for his pioneering work on musical iconography but his contributions to the historical performance movement in New York during the 1940s and 50s were also seminal. Central to facilitating this activity... more
Emanuel Winternitz is remembered for his pioneering work on musical iconography but his contributions to the historical performance movement in New York during the 1940s and 50s were also seminal. Central to facilitating this activity was Winternitz’s appointment as the first official curator of musical instruments at the Metropolitan Museum of Art in 1942. The donation of over 3,000 instruments to the Met by Mary Elizabeth Adams Brown at the turn of the 20th century established the Museum as the most significant repository of musical instruments in America during Winternitz’s tenure. Through his hands-on approach to the collections and his prolific activities as a concert organizer, the Met provided the fledgling revival in New York both with instruments and a high profile concert platform. Winternitz’s close relationship with Paul Hindemith was particularly significant. It fostered a sustained collaboration through which Yale students and Met instruments were brought together for a series of formative early music concerts by the Yale Collegium Musicum that Hindemith established. Collegium concerts at the Met introduced thousands of Americans to “music forgotten and remembered” and found an international audience through Voice of America broadcasts. This focus on historical performance at the Met laid the ground for the growing popular interest in “early music” in the US that would be cultivated by iconic figures such as Noah Greenberg.
Winternitz’s activities at the Met provide a vantage point for us reflect on how museum instrument collections and attitudes towards their stewardship impacted on the early revival. It also invites us to consider the nature of the intersections between museum collections and historical performance today.
Presented at Roots of Revival, Horniman Museum, London, 12 – 14 March 2014. Also presented at the MMA Professional Colloquium, May 2015.
Winternitz’s activities at the Met provide a vantage point for us reflect on how museum instrument collections and attitudes towards their stewardship impacted on the early revival. It also invites us to consider the nature of the intersections between museum collections and historical performance today.
Presented at Roots of Revival, Horniman Museum, London, 12 – 14 March 2014. Also presented at the MMA Professional Colloquium, May 2015.
- by Bradley Strauchen-Scherer
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Brief generalist account of Hindemith's career and most important works.
- by R J Stove
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Felix Mendelssohn and Paul Hindemith, composing about one hundred years apart, integrated visual elements, including drawings and illustrated notations, into musical manuscripts they designed as gifts for women they admired. The two... more
Felix Mendelssohn and Paul Hindemith, composing about one hundred years apart, integrated visual elements, including drawings and illustrated notations, into musical manuscripts they designed as gifts for women they admired. The two documents, illustrating Mendelssohn’s Schilflied (1842) and Hindemith’s Ludus Tonalis (1942), are strong declarations of compositional and artistic ideology. This article examines the scores as reflecting, respectively, aspects of nineteenth-century and early twentieth-century conceptions of musical composition and form, and their relation to visual media.
NB: Translated by Farshad Moshfeghi for Iran's Music Report Magazine (2012)
NB: Translated by Farshad Moshfeghi for Iran's Music Report Magazine (2012)
![Autorizada Autorizada](/uploads/1/2/4/9/124921619/349555659.jpg)
- by Daniel Walden
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