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Only hours before the blaze broke out, the company had marked the midpoint of this summer's season with the U.S. premiere of Paul Hindemith's first full-length opera, Cardillac (1926). The work reflects Hindemith's youthful expressionisms although its intricately polyphonic writing and its theme-the creator v. society-also presage such products of his maturity as the 1938 opera Mathis der Maler. The libretto by Ferdinand Lion is based on an E.T.A...

Author: /time Magazine | Title: Festivals: The Phoenix of Santa Fe | 8/4/1967 | See Source »

Hoffmann story about an 18th century Paris goldsmith who is so obsessed with his creations that he sells them reluctantly, then reclaims them by killing his customers. Hindemith set it to a craftsmanlike score that has strong choral writing and moments of trenchant emotion; much of the time it also justifies the quip that the hero is not Cardillac but counterpoint...

Author: /time Magazine | Title: Festivals: The Phoenix of Santa Fe | 8/4/1967 | See Source »

...week the Hamburgers, the first foreign company invited to appear in the Metropolitan's new house, justified their advance billing by stylishly bringing off a daunting array of New York premieres: a vividly atmospheric Lulu, by Alban Berg; a vocally polished and forceful Mathis der Maler, by Paul Hindemith; and a flowing and convincingly dramatic Jacobovsky and the Colonel, by Giselher Klebe...

Author: /time Magazine | Title: Opera: How to Hear Ahead | 7/7/1967 | See Source »

...jazz -and Goodman's relation to both. For one thing, at 58, he now devotes at least a quarter of his professional life to classical music, and has emerged as a leading concert performer. He broadened the clarinet repertory by commissioning works from such composers as Bartok, Hindemith, Copland and Milhaud, and he has made his mark in the standard works through such recordings as Mozart's Clarinet Concerto in A, which has sold 40,000 copies, an impressive total for a classical...

Author: /time Magazine | Title: Instrumentalists: Still Playing What He Feels | 6/23/1967 | See Source »

...general, the Band had trouble coping with the Hindemith, evidencing flaws which were absent else-where. Hindemith takes a Straussian delight in piling up layers of motivic material, creating a massive and complicated fabric of sound. There are simply a lot of notes to get through, and often the Band gave the impression it was plowing through the music rather than performing...

Author: By Robert G. Kopelson, | Title: Harvard University Band | 4/17/1967 | See Source »

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