Word: hindemith
(lookup in dictionary)
(lookup stats)
Dates: all
Sort By: most recent first
(reverse)
Limited Repertory. Seated on separate benches. Pianists Demus and Badura-Skoda worked their way through five little-heard pieces from the limited repertory of original four-hand works. The five: Mozart's Sonata in C. K.521, Hindemith's Sonata for Four Hands, three works by Schubert (who wrote more four-hand music than any other major composer). In some pieces, Demus played "low" (the bass part) and Badura-Skoda "high" (the treble), in others they switched positions. Since the bass player invariably tends to underpedal to avoid thickness, the pedaling throughout was done by the treble player. When...
...conductors don't want to do or can't do." Known to U.S. listeners-from his records only-as a master of the classical repertory, he is equally famed in Europe as the tireless proselytizer for modern music, the man who got hearings for Berg, Von Webern, Hindemith, Schoenberg, Milhaud long before their names had seeped into the record catalogues. Last week Conductor Scherchen was out plugging the work of another early comrade in music; in Frankfurt he conducted a series of packed performances of Igor Stravinsky's witty 18th century-styled opera, The Rake...
...Bridge Expert Easley Blackwood, father of the Blackwood four-notrump convention, Composer Blackwood studied at Yale under Paul Hindemith, moved on to Paris, where he became a student of Nadia Boulanger, for 35 years the musical nanny of top U.S. composers (TIME, Sept. 30, 1957). Now an instructor in the music department at the University of Chicago, Blackwood insists that his composition has no direct connection "with the times in which we live." Does he regard himself as beat? "Anybody looking at my picture," says Blackwood, "could tell that...
...Sonata for Viola Solo, Opus 25, No.1, was the first of four pieces from the early 1920's, thus coming from the time before Hindemith was 30 years old. Hindemith, a concert violist himself, was familiar with the sonic abilities of that instrument. The piece was a study in dissonance, brought about by playing on two strings at once. The multiple-stopping was at times very difficult, but Eleftherios Eleftherakis played brilliantly for the most part. The piece and its performance were marked by a great richness of tone and lucidity...
Both Des Todes Tod and its successor on the program, Die Serenaden--a little cantata on Romantic texts for soprano, oboe, viola and violoncello--approached Hindemith's orchestral ideal of thick texture, rich tone and extensive contrapuntal treatment, with each instrument going its separate way. In "Der Wurm am Meer" in the second group of pieces in Die Serenaden, all four elements had different melodies that combined to form a coherent and colorful whole. Such terms might be used to describe the whole program...