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The photo on this page is believed to be copyrighted. It may be considered for fair use but I don't believe it is "open to the public domain." This is because I have seen the picture on a music CD cover of Paul Hindemith during my music studies. Hence, it is my 70% belief that this picture may be copyrighted. (70% because there is a 30% chance the photo on the CD cover may have been taken from the same source, that is of open source. I dought it! --CylePat 23:30, 15 December 2005 (UTC)
The entry here states that he "led" the Frankfurt Opera Orchestra in 1915-23...I believe this means that he was the concertmaster (American usage) or leader (British usage), not the conductor, as I don't think he did much conducting until his middle years. Any confirmation? Wspencer11 13:35, 31 July 2006 (UTC)
Sorry, but I turned to this article because I once heard Hindemith conducting the Berlin Philharmonic in a programme of Bach suites ( played by a nearly full orchestra -Furtwangler had not been dead a year) and his own music, which included the Cello Concerto, with Mainardi as soloist and the Konzertmusik for Brass and Strings, at a time when (in the mid-fifties) he was seen as a major reasoned exponent of tonality and therefore the opposite of a serialist, or twelve-note composer. I thought I would find some account of his thinking. I didn't get anything like that. This is a composer who wrote convincingly and succesfully in a very conservative mode for the majority of his composing career, during which the main fault hhe was accused of was essentially that he found composition too easy and produced polished and superbly competent music which failed to "challenge" the mid twentieth century listener. From one point of view sort of twentieth century Bach-figure. He was certainly a major European figure in his time. This article almost ignores that. Couldn't someone have another look at it?Delahays (talk) 23:25, 12 March 2021 (UTC)
- He was concertmaster of orchestra - it means he was a principal musician in the first violin section and led the orchestra.
Hadn't he left Germany already by about 1938 to work in Turkey, and came to the States from there? I had always understood that he didn't return to Germany after going to Turkey until well after the war. --Wspencer11 (talk to me...) 16:36, 30 August 2006 (UTC)
The latest edit says many see him as one of the best composers of his time. I'm not certain this is really true; maybe it could say "most prominent" or something along those lines. --Wspencer11 (talk to me...) 12:34, 25 October 2006 (UTC)
Hey. I re-read this article just now and noticed something missing. Before, there was a good sentence that said something about there being a perception of H's music as being theoretically interesting but emotionally uninvolving (or something like that). I thought that that was good, and think that it's true (that there is such a perception, if not a consensus).
Hooray for you, but you took out the guts, the interesting part. I get the robot concept, but it's silly. It's, what, 2007? It's time (finally) for reality, not abstraction. Dying like a gentleman, dying by the rules, used to make sense, but doesn't any longer. You should have come up with (if you felt you had to) a documented/non-weasel words way of saying what was there, as it's fundamental to any honest look at H's music. You might have quoted something from the critical reaction to him, for example. There's a gorilla in the room: H's music confuses people, turns them off. Honegger thought he was a genius, but my plumber thinks he was a hack. Concealing the fact of the controversy smacks of its own bias, and robs us of the juice: don't you see that it's more interesting to acknowledge the divide, and its fierceness? We're not here to serve Wikipedia or the encyclopedic God. Now let me hear some more robotics, some good hydraulic abstraction.
Not bad, but what can I say? You're still talking morals, ideas, going so far as to use words like policy, guidelines, rules - you don't hear the hydraulics? OK, so you may be too far gone, but I'll go through the motions of suggesting that we not follow laws simply to follow them, even when they sometimes, as in this case, take us out the window. If you're going to talk about H, just Talk about him. Established figure? Take a look at the concert hall programs; he's no such thing - never has been and never will be. And the people about whose identity you claim to be in the dark with regard to are the ones standing next to you in the Wal Mart line, the McDs drive-thru, the nude beach - they're everywhere. I like pretending, too, but there are (or should be) limits. Happy computing.
Hindemith was yet another person who thought that he could create art by using an abstract conceptual formula or theory. It never works. Are there any citations that discuss this? The "art" that results from such attempts is always bad. Academics, however, will try to convince us that the "art" is good, maybe even of the highest possible value, but we are just too unsophisticated to appreciate it. Lestrade (talk) 19:29, 17 March 2010 (UTC)Lestrade
~ Thank you for your personal opinion, but that's all it is, quite frankly. Many, many people appreciate Hindemith's genius, and he is becoming quite popular with the younger "classical" crowd. If you don't find "art" in his chamber pieces, for instance, I'm wondering where you do find it? Anyway, a quick glance at the New Grove's article on Hindemith should dispel any doubts about his importance and contribution to serious music. 98.67.187.164 (talk) 23:21, 5 October 2010 (UTC)HammerFilmFan
I noticed that Paul Hindemith escaped from Nazi Germany. Was he Jewish?
Anonymous173.74.57.205 (talk) 02:06, 17 May 2013 (UTC)
I've reviewed this article as part of the Composers project review of its B-class articles. This article is, in my opinion, a weak B; it has a number of faults. You can read my detailed review on the comments page. If you have questions or comments, feel free to leave them here or on my talk page. Magic♪piano 13:55, 21 November 2008 (UTC)
The comment(s) below were originally left at Talk:Paul Hindemith/Comments, and are posted here for posterity. Following several discussions in past years, these subpages are now deprecated. The comments may be irrelevant or outdated; if so, please feel free to remove this section.
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==Composers Project Assessment of Paul Hindemith: 2008-11-21==
This is an assessment of article Paul Hindemith by a member of the Composers project, according to its assessment criteria. This review was done by Magicpiano. If an article is well-cited, the reviewer is assuming that the article reflects reasonably current scholarship, and deficiencies in the historical record that are documented in a particular area will be appropriately scored. If insufficient inline citations are present, the reviewer will assume that deficiencies in that area may be cured, and that area may be scored down. Adherence to overall Wikipedia standards (WP:MOS, WP:WIAGA, WP:WIAFA) are the reviewer's opinion, and are not a substitute for the Wikipedia's processes for awarding Good Article or Featured Article status. ===Origins/family background/studies=== Does the article reflect what is known about the composer's background and childhood? If s/he received musical training as a child, who from, is the experience and nature of the early teachers' influences described?
===Early career=== Does the article indicate when s/he started composing, discuss early style, success/failure? Are other pedagogic and personal influences from this time on his/her music discussed?
===Mature career=== Does the article discuss his/her adult life and composition history? Are other pedagogic and personal influences from this time on his/her music discussed?
===List(s) of works=== Are lists of the composer's works in WP, linked from this article? If there are special catalogs (e.g. Köchel for Mozart, Hoboken for Haydn), are they used? If the composer has written more than 20-30 works, any exhaustive listing should be placed in a separate article.
===Critical appreciation=== Does the article discuss his/her style, reception by critics and the public (both during his/her life, and over time)?
===Illustrations and sound clips=== Does the article contain images of its subject, birthplace, gravesite or other memorials, important residences, manuscript pages, museums, etc? Does it contain samples of the composer's work (as composer and/or performer, if appropriate)? (Note that since many 20th-century works are copyrighted, it may not be possible to acquire more than brief fair use samples of those works, but efforts should be made to do so.) If an article is of high enough quality, do its images and media comply with image use policy and non-free content policy? (Adherence to these is needed for Good Article or Featured Article consideration, and is apparently a common reason for nominations being quick-failed.)
===References, sources and bibliography=== Does the article contain a suitable number of references? Does it contain sufficient inline citations? (For an article to pass Good Article nomination, every paragraph possibly excepting those in the lead, and every direct quotation, should have at least one footnote.) If appropriate, does it include Further Reading or Bibliography beyond the cited references?
===Structure and compliance with WP:MOS=== Does the article comply with Wikipedia style and layout guidelines, especially WP:MOS, WP:LEAD, WP:LAYOUT, and possibly WP:SIZE? (Article length is not generally significant, although Featured Articles Candidates may be questioned for excessive length.)
===Things that may be necessary to pass a Good Article review===
===Summary=== This is a basic professional biography of the man. It is lacking in any significant personal details; we learn at one point that he is married; no mention of when, or if there were children. There is only very basic mention of his childhood environment. His musical style is well-described, as are the factors that influenced him. There is little mention of critical and popular reaction to his works. While his students are listed, there is no elaboration of what kind if influence he had on them; do they (or anyone else) use his system? While the list of compositions appears to be complete, it is long enough to be in its own article. As his music is still largely under copyright, his publishers should be more prominently mentioned (currently only mentioned in an external link). An article this length should have more images. This article would clearly benefit from having some sort of samples (either audio, score fragment, or both) of music composed using his system, possibly with comparable samples of more conventionally-written music. The article lead is short for an article of this length; see WP:LEAD. Some of the footer material is out of place, see WP:LAYOUT. The article contains no inline citations, which would (in addition to other issues) be a barrier to GA/FA consideration. I give this article a weak B rating; there is much room for improvement. Magic♪piano 13:53, 21 November 2008 (UTC) |
Last edited at 13:31, 11 December 2008 (UTC). Substituted at 02:27, 30 April 2016 (UTC)
The author should really say a lot more about how Hindemith's "compositions began to be affected by his theories," especially because the citation at that point is merely to some note to some "p. 42 added on an errata slip." I think that a lot of people do hold this view of late Hindemith, so I'm sure there's something to it. A few illustrative examples from his late work and from his theoretical work would be of much interest.98.190.248.43 (talk) 15:47, 8 December 2016 (UTC)
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