Paul Hindemith News
German composer (1895–1963)
Commemorations 2025 (Birth: Paul Hindemith)
- organ, viola, violin
- opera, symphony
- Germany, West Germany, United States of America
- classical composer, conductor, professor of music composition, musicologist, music teacher, music theorist, viola d'amore player, university teacher, concertmaster, violinist, violist, librettist, teacher, composer
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2024-04-25
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2024-04-24 08:20:00
The 13th Lewes Chamber Music Festival takes place from 6 to 8 June 2024 with artistic director Beatrice Philips bringing together 18 of today's most exciting chamber-musicians and soloists to explore the musical ties between Europe and America through celebrating the 150th birthdays of Arnold Schoenberg and Charles Ives, including Schoenberg's Chamber Symphony No. 1 and Ode to Napoleon with actor Samuel West, and rare chamber versions of larger scale works by Richard Strauss and Mahler.The weekend opens with early piano quartets by Mahler and Richard Strauss along with music by Elliott Carter and Anton Webern's quintet arrangement of Schoenberg's Chamber Symphony No.1, and there is more Schoenberg with a late-night performance of Verklärte Nacht. And the festival will include more Schoenberg along with performances of music by Berg, Zemlinsky, Schulhoff, Korngold, Hindemith, Brahms, Ives, Amy Beach and Gershwin.A wonderfully ambitious gala concert features Guido Martin-Brandis' arrangement of the magical closing scenes from […]
2024-04-08 15:20:00
Deadly Sins in New York and Silver Lion in Venice: Ensemble Modern
Wallis Giunta (Photo: Dario Accosta)Ensemble Modern is currently on a small tour of the USA with concerts in Houston and New York including Carnegie Hall. Under conductor HK Gruber the ensemble with mezzo-soprano Wallis Giunta and a-cappella ensemble amarcord, will be presenting Kurt Weill's Die Sieben Todsünden, in a new version for chamber ensemble, plus music by Paul Hindemith, Erich Wolfgang Korngold and Arnold Schoenberg. A second programme in New York will focus on Cuban-American composer Tania León alongside transcriptions of Conlon Nancarrow's player-piano studies.In September, Ensemble Modern will be at the Biennale Musica di Venezia 2024 and will be receiving the festival's Silver Lion whilst Golden Lion for Lifetime Achievement has been awarded to the composer Rebecca Saunders. On September 26, Ensemble Modern opens the festival at the Teatro la Fenice together with the Orchestra del Teatro under the baton of Tito Ceccherini, performing Rebecca Saunders' Wound. On September 28, Ensemble Modern appears […]
The Boston Musical Intelligencer
2024-03-12 18:22:30
Celebrating Lutheran Master’s 339th Birthday
[…] quickly branched out into other musical media, and Wessler (who serves as artistic director of the BBB) attempts to program as wide a variety of instrumentalists as possible. In 2024 violist Maren Rothfritz returns, having last performed at the Bach Birthday in 2022, when her performance of three Bach cello suites was received with great acclaim. This year her innovative 2:55 program features a single Bach cello suite—no. 6 in D Major—interspersed with movements from Hindemith’s Sonata for Viola, Op. 33, No. 4: an unexpected but delightful pairing that illuminates both pieces. Two pieces of new music round out the program: ko’u inoa (my name is) by the Hawaiian composer Anne Leilehua Lanzilotti, and Grimalkin (2023) by Will Stackpole, the latter written especially for Rothfritz and inspired by the Bach/Hindemith pairing. Until recently, Bach on piano has not typically been a BBB feature, as Boston audiences typically prefer historically-informed performances […]
2024-01-17 11:48:00
Antikrist, Deutsche Oper, 13 January 2024
[…] to connect them, and much the same is done with or to Strauss. Some might call it a collage effect; I could not help but think Langgaard would have been unlikely to survive a Turnitin inspection. There are, to be fair, more promising, even modernistic passages, especially when he writes purely orchestrally. (It is, by the way, difficult to discern much sympathy for the human voice.) Hints – again, arguably more than that – of Hindemith seem more amenable to something approaching sustained musical development, but ultimately they do not lead anywhere. Maybe that is the point, although I fear I may be clutching at straws. What I can say is that the Orchestra of the Deutsche Oper, conducted by Hermann Bäumer, played with evident conviction and even pleasure, making as strong a case for the score as is likely to be heard. The chorus, as ever well trained by […]
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