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69-681: Ballet Society began as a ballet company, the fourth ballet established by Balanchine and Kirstein in the United States. Its performances were for a subscription audience. The first performance took place on November 20, 1946 at the Central High School of Needle Trades in New York City. In its first season, it opened with The Four Temperaments and the Spellbound Child . On April 28, 1948 Orpheus , presented by Ballet Society while it

138-450: A U.S. citizen in 1946, but returned to Europe in 1953, living in Zürich and teaching at the university there until he retired from teaching in 1957. Toward the end of his life he began to conduct more and made numerous recordings, mostly of his own music. In 1954, an anonymous critic for Opera magazine, having attended a performance of Hindemith's Neues vom Tage , wrote: "Mr Hindemith

207-497: A foundational tone , and use musical forms and counterpoint and cadences typical of the Baroque and Classical traditions. His harmonic language is more modern, freely using all 12 notes of the chromatic scale within his tonal framework, as detailed in his three-volume treatise, The Craft of Musical Composition . Paul Hindemith was born in Hanau , near Frankfurt , the eldest child of

276-471: A sonata for double bass, and a concerto for trumpet, bassoon, and strings (both in 1949). In the 1930s Hindemith began to write less for chamber music groups, and more for large orchestral forces. He wrote his opera Mathis der Maler , based on the life of the painter Matthias Grünewald , in 1933–1935. This opera is rarely staged, though a well-known production by the New York City Opera in 1995

345-450: A "masterpiece," and was revived by ballet companies worldwide. Hindemith's score was borne from the success of his previous collaboration with Massine, Nobilissima Visione . Initially, they both conceived of a ballet based on the paintings of Pieter Brueghel the Elder , a score which the composer was projecting to being akin to a " Flemish peasant Persephone ." Although Hindemith had composed

414-469: A "real master", and he was appreciated and greatly respected. Toward the end of the 1930s, Hindemith made several tours of America as a viola and viola d'amore soloist. He emigrated to Switzerland in 1938, partly because his wife was of part-Jewish ancestry. At the same time that he was codifying his musical language, Hindemith's teaching and compositions began to be affected by his theories, according to critics such as Ernest Ansermet . Arriving in

483-435: A male solo, which Jennings and Bull called "considerable articulacy, but his elaborate designs come to nothing in consequence of his intense inward focus." He is later joined by another four women. Croce wrote that this section "is indolent, tropical, given to detached contemplation, to pretentious vices." The fourth and final variation, "Choleric," begin with a female solo, which Croce called an "angry goddess," then joined by

552-615: A new music pedagogy in the era of president Kemal Atatürk . His deputy was Eduard Zuckmayer . Hindemith led the reorganization of Turkish music education and the early efforts to establish the Turkish State Opera and Ballet . He did not stay in Turkey as long as many other émigrés, but he greatly influenced Turkish musical life; the Ankara State Conservatory owes much to his efforts. Young Turkish musicians regarded Hindemith as

621-530: A new program at the New York City Ballet. This program allowed for 3000 underprivileged children to come to a matinee performance of the ballet, meet the dancers and have exposure to live performance. The program continues to this day at the New York City Ballet. In 1961, Ballet Society sponsored a Teachers Seminar, based on the findings of the Ford Foundation grant survey, for the purpose of upholding

690-523: A prolonged decline in his physical health, Hindemith composed almost until his death. He died in Frankfurt from pancreatitis , aged 68. He and his wife are buried in Cimetière La Chiésaz, La Chiésaz , Canton of Vaud, Switzerland. Hindemith is among the most significant German composers of his time. His early works are in a late romantic idiom, and he later produced expressionist works, rather in

759-683: A series of recordings for EMI with the Philharmonia Orchestra and for Deutsche Grammophon with the Berlin Philharmonic Orchestra , which have been digitally remastered and released on CD. The Violin Concerto was also recorded by Decca/London , with the composer conducting the London Symphony Orchestra and David Oistrakh as soloist. Everest Records issued a recording of Hindemith's postwar When Lilacs Last in

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828-430: A significant portion of the score according to Massine's scenario by 1940, he lost confidence in the choreographer after he devised an entirely new scenario for the work. On April 26, 1940, Hindemith wrote to his publisher, Willy Strecker of B. Schott's Söhne , that he had "broken off" his partnership with Massine, but that work on the score was continuing on schedule. Although definitive proof has not been established, it

897-524: A social or political purpose and sometimes written to be played by amateurs. The concept was inspired by Bertolt Brecht . An example of this is Hindemith's Trauermusik (Funeral Music), written in January 1936. He was preparing the London premiere of his viola concerto Der Schwanendreher when he heard news of the death of George V . He quickly wrote Trauermusik for solo viola and string orchestra in tribute to

966-600: A string quartet. In May 1918 he was deployed to the front in Flanders , where he served as a sentry; his diary has him "surviving grenade attacks only by good luck", according to New Grove Dictionary . After the armistice he returned to Frankfurt and the Rebner Quartet. In 1921, Hindemith founded the Amar Quartet , playing viola, and extensively toured Europe with an emphasis on contemporary music. His younger brother Rudolf

1035-540: A text by Muriel Stuart, illustrations by Carlus Dyer, and a foreword by George Balanchine. Lincoln Kirstin is credited with the historical development. This book remains in print today. In 1958, Ballet Society received two significant grants from the Ford Foundation: a) $ 25,000 to conduct a survey and evaluate the state of ballet training in America, and b) $ 150,000 for the purpose of establishing scholarships for students at

1104-485: A theme and four variations that are based on the theory of four temperaments , including Melancholic, Sanguinic, Phlegmatic and Choleric. The ballet starts with the Theme, with three separate pas de deux . In the book The Faber Pocket Guide to Ballet , dance critic Luke Jennings and former Royal Ballet principal dancer Deborah Bull described, "The mood is pensive; several physical motifs are carefully developed, and by

1173-404: A traditional key signature . Like most tonal music, it is centred on a tonic and modulates from one tonal centre to another, but it "attempts ... the free use of all the twelve tones of the chromatic scale ", rather than relying on a diatonic scale as a restricted subset of these notes. He even rewrote some of his music after developing this system. One of the core features of Hindemith's system

1242-416: A wig with "a large white horn in the middle like a unicorn's," which she called "very irritating." It also included wings with "fingers enclosed." Starting with a 1951 New York City Ballet revival, the costumes were replaced with practice clothes, which include black leotards for women, white T-shirts and black tights for men. ... [The ballet] is an expression in dance and music of the ancient notion that

1311-405: Is a ranking of all musical intervals of the 12-tone equally tempered scale, from the most consonant to the most dissonant . He classifies chords in six categories, on the basis of dissonance, whether they contain a tritone, and whether they clearly suggest a root or tonal centre. His philosophy also encompassed melody—he strove for melodies that do not clearly outline major or minor triads. In

1380-599: Is an orchestral work and ballet by Paul Hindemith . Although it was originally conceived as a ballet for Léonide Massine , the score was ultimately completed as a commission for George Balanchine , who subsequently choreographed it as a neoclassical ballet based on the theory of the four temperaments . The music was premiered in Switzerland by the Stadtorchester Winterthur under the direction of Hermann Scherchen on March 10, 1943. However, Balanchine created

1449-413: Is generally believed that Hindemith's music from his aborted project ultimately became The Four Temperaments . On November 4, 1940, Hindemith wrote that the music was "quite good and worthy of a better cause." Balanchine first commissioned the score from Hindemith for his own amusement, as a way to spend his income from working on Broadway and Hollywood, hoping he could enjoy listening to and play it on

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1518-543: Is no virtuoso conductor, but he does possess an extraordinary knack of making performers understand how his own music is supposed to go." Hindemith received the Wihuri Sibelius Prize in 1955. He was awarded the Balzan Prize in 1962 "for the wealth, extent and variety of his work, which is among the most valid in contemporary music, and which contains masterpieces of opera, symphonic and chamber music." Despite

1587-439: Is the idea of dissonance resolving to consonance. Much of Hindemith's music begins in consonant territory, progresses into dissonant tension, and resolves in full, consonant chords and cadences . This is especially apparent in his Concert Music for Strings and Brass (1930). Hindemith's complete set of instructional books, in possible educational order: Hindemith was a prolific composer. He conducted some of his own music in

1656-460: Is written for a different small instrumental ensemble, many of them very unusual. Kammermusik No. 6 , for example, is a concerto for the viola d'amore , an instrument that has not been in wide use since the baroque period, but which Hindemith himself played. He continued to write for unusual groups of instruments throughout his life, producing (for example) a trio for viola, heckelphone and piano (1928), seven trios for three trautoniums (1930),

1725-753: The Frankfurt Opera Orchestra in 1914 and was promoted to concertmaster in 1916. He played second violin in the Rebner String Quartet from 1914. After his father's 1915 death in World War I , Hindemith was conscripted into the Imperial German Army in September 1917 and sent to a regiment in Alsace in January 1918. There he was assigned to play bass drum in the regiment band, and also formed

1794-771: The International Ballet Festival of Nervi in Italy, where they performed works by George Balanchine, Jerome Robbins and Peter Martins. Through 1990–1995, Ballet Society sponsored two different museum exhibitions: Les Ballets 1933 at the National Dance Museum in Saratoga Springs in 1990, and in 1993 an exhibit called Art, Craft, Creativity in the Theatre Through the Costumes of Barbara Karinska . The exhibit

1863-560: The School of American Ballet in 1934 before starting any of the ballet companies they went on to found over the years. Prior to and including 1946, when they began Ballet Society, Balanchine was able to utilize the dancers from his school for his ballets. In 1949, Ballet Society received a grant from the Rockefeller Foundation for $ 2,500 for the completion of a book, published as The Classic Ballet: Basic Technique and Terminology , with

1932-676: The University at Buffalo , Cornell University , and Wells College . During this time he gave the Charles Eliot Norton Lectures at Harvard , from which the book A Composer's World (1952) was extracted. Hindemith had a long friendship with Erich Katz , whose compositions were influenced by him. Also among Hindemith's students were the future rocket scientist Wernher von Braun and the composers Franz Reizenstein , Harald Genzmer , Oskar Sala , Arnold Cooke , Robert Strassburg , and dozens of other notables . Hindemith became

2001-639: The Dooryard Bloom'd ("A Requiem for Those We Love") on LP, conducted by Hindemith. A stereo recording of Hindemith conducting the requiem with the New York Philharmonic Orchestra , with Louise Parker and George London as soloists, was made for Columbia Records in 1963 and later issued on CD. He also appeared on television as a guest conductor of the Chicago Symphony Orchestra 's nationally syndicated "Music from Chicago" series;

2070-598: The School of American Ballet over a three-year period (the San Francisco Ballet School , and five other ballet schools, also received significant funds from Ford Foundation at this time for the same purpose). These grants helped establish a strong foundation and best practices for teaching dance and supporting a merit system that allowed dance schools to recruit the most gifted dancers regardless of financial restrictions. In 1960, Ballet Society raised funds to implement

2139-514: The U.S. in 1940, he taught primarily at Yale University , where he founded the Yale Collegium Musicum. He had such notable students as Lukas Foss , Graham George , Andrew Hill , Norman Dello Joio , Mel Powell , Yehudi Wyner , Harold Shapero , Hans Otte , Ruth Schönthal , Samuel Adler , Leonard Sarason , Fenno Heath, Tony -winning composer Mitch Leigh , and Oscar -winning film director George Roy Hill . Hindemith also taught at

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2208-585: The attention of an international audience. The next year, he composed the song cycle Das Marienleben ( The Life of Mary ) and began to work as an organizer of the Donaueschingen Festival , where he programmed works by several avant-garde composers, including Anton Webern and Arnold Schoenberg . In 1927 he was appointed Professor at the Berliner Hochschule für Musik in Berlin. Hindemith wrote

2277-400: The auditorium of Central High School of Needle Trades (now High School of Fashion Industries ) during Ballet Society's first performance. The stage was merely a raised surface, while the fifty members of the orchestra performed right in front of the audience due to the lack of an orchestra pit. Ravel's opera L'enfant et les sortilèges , also choreographed by Balanchine, was also performed

2346-435: The ballet include Paris Opera Ballet , The Royal Ballet , San Francisco Ballet , National Ballet of Canada , Dutch National Ballet , Vienna State Ballet , The Australian Ballet , Pacific Northwest Ballet , Boston Ballet , Houston Ballet , Joffrey Ballet , Pennsylvania Ballet and Dance Theatre of Harlem . At New York City Ballet's "Balanchine: The City Center Years" program in 2018, The Four Temperaments

2415-560: The baton of Hugh McMillan, conducting the Boulder Symphonic Band at the University of Colorado. The piece is representative of Hindemith's late works, exhibiting strong contrapuntal lines throughout, and is a cornerstone of the band repertoire. He recorded it in stereo with members of the Philharmonia Orchestra for EMI in 1956. Most of Hindemith's music employs a unique system that is tonal but non- diatonic , often notated without

2484-648: The choreography a few years later. The ballet, The Four Temperaments was the first work Balanchine made for the Ballet Society , the forerunner of the New York City Ballet , and premiered on November 20, 1946, at the Central High School of Needle Trades , New York, during the Ballet Society's first performance. Though at the premiere, critics did not receive the ballet well, it was later acknowledged as

2553-528: The entire cast. The ballet ends with a series of grand jeté lifts. At the premiere of the ballet, it was not well-received by critics for being "cold and depressing," but it was later regarded, as Jennings and Bull described, a "masterpiece." In 1975, Croce wrote that it "is a messianic work, which conveys to this day the sense of a brilliant and bold new understanding." The ballet is now regarded as one of Balanchine's "black and white" ballets. In The Cambridge Companion to Ballet , edited by Marion Kant, it

2622-469: The final chapter of Book 1, Hindemith seeks to illustrate the wide-ranging relevance and applicability of his system, analyzing musical examples from the medieval to the contemporary. These analyses include the early Gregorian melody Dies irae , compositions by Guillaume de Machaut , J. S. Bach , Richard Wagner , Igor Stravinsky , Arnold Schoenberg , and a composition of his own. Hindemith's 1942 piano work Ludus Tonalis contains twelve fugues , in

2691-718: The highest standard of excellence in the quality of teaching ballet across the country. George Balanchine presided over the seminar through lectures and demonstrations. Ballet school directors and teachers came from all over the country to participate. In 1964, Ballet Society received a $ 5000 grant from the New York State Council on the Arts to conduct lecture-demonstrations in high schools across New York City. Two teams of NYCB dancers, headed by Melissa Hayden and Edward Villella, delivered these lectures. In 1986, Ballet Society sponsored travel for 21 New York City Ballet dancers to attend

2760-450: The human organism is made up of four different humors, or temperaments. Each one of us possesses these four humors, but in different degrees, and it is from the dominance of one of them that the four physical and psychological types—melancholic, sanguinic, phlegmatic, and choleric—were derived ... Although the score is based on this idea of the four temperaments, neither the music nor the ballet itself makes specific or literal interpretation of

2829-618: The idea. An understanding of the Greek and medieval notion of the temperaments was merely the point of departure for both composer and choreographer. The Four Temperaments , subtitled A Dance Ballet without Plot . is an "abstract" plotless ballet, and as biographer Bernard Taper described, "unlike anything that had ever been seen in ballet before." The choreography stems from the music, with emphasis on "pulse drive", "change of weight" and "foot and leg work", which would become part of Balanchine's vocabulary in making modernist works. The ballet features

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2898-409: The late 1930s Hindemith wrote an instructional treatise in three volumes, The Craft of Musical Composition , which lays out this system in great detail. He also advocated this system as a means of understanding and analyzing the harmonic structure of other music, claiming that it has a broader reach than the traditional Roman numeral approach to chords (an approach strongly tied to diatonic scales). In

2967-486: The late king, and the premiere was given that same evening, the day after the king's death. Other examples of Hindemith's Gebrauchsmusik include: Hindemith's most popular work, both on record and in the concert hall, is probably the Symphonic Metamorphosis of Themes by Carl Maria von Weber , written in 1943. It takes melodies from various works by Carl Maria von Weber , mainly piano duets, but also one from

3036-400: The lead dancers in the original cast, Tanaquil Le Clercq , was seventeen when she created a lead role in this ballet, which was also her first professional solo role. The costumes of the original production were designed by Kurt Seligmann , and were deemed impractical. Le Clercq called them "hideous" and "gave you a feeling of claustrophobia I can't describe." She noted the costumes include

3105-438: The manner of Johann Sebastian Bach , using traditional devices like inversion, diminution, augmentation, retrogradation, stretto, etc. Each fugue is connected by an interlude to the next, during which the music moves from the key of the last to its successor. The order of the keys follows Hindemith's ranking of musical intervals around the tonal center of C. Another traditional aspect of classical music that Hindemith retains

3174-522: The music for Hans Richter 's 1928 avant-garde film Ghosts Before Breakfast ( Vormittagsspuk ) and also acted in the film; the score and original film were later burned by the Nazis . In 1929, Hindemith played the solo part in the premiere of William Walton 's viola concerto , after Lionel Tertis , for whom it was written, turned it down. On 15 May 1924, Hindemith married the actress and singer Gertrud (Johanna Gertrude) Rottenberg (1900–1967). The marriage

3243-614: The opera Mathis der Maler (1938), the Symphonic Metamorphosis of Themes by Carl Maria von Weber (1943), and the oratorio When Lilacs Last in the Dooryard Bloom'd (1946), a requiem based on Walt Whitman's poem . Hindemith and his wife emigrated to Switzerland and the United States ahead of World War II, after worsening difficulties with the Nazi German regime. In his later years, he conducted and recorded much of his own music. Most of Hindemith's compositions are anchored by

3312-457: The overture to his incidental music for Turandot (Op. 37/J. 75), and transforms and adapts them so that each movement of the piece is based on one theme. In 1951, Hindemith completed his Symphony in B-flat . Scored for concert band , it was written for the U.S. Army Band "Pershing's Own" . Hindemith premiered it with that band on 5 April of that year. Its second performance took place under

3381-437: The painter and decorator Robert Hindemith from Lower Silesia and his wife Marie Hindemith, née Warnecke. He was taught the violin as a child. He entered Frankfurt's Dr. Hoch's Konservatorium , where he studied violin with Adolf Rebner , as well as conducting and composition with Arnold Mendelssohn and Bernhard Sekles . At first he supported himself by playing in dance bands and musical-comedy groups. He became deputy leader of

3450-540: The performances have been released by VAI on home video. A complete collection of Hindemith's orchestral music was recorded by German and Australian orchestras, all conducted by Werner Andreas Albert and released on the CPO label. An annual festival of Hindemith's music has been held at William Paterson University in Wayne, New Jersey, from 2003 through at least 2017. It features student, staff, and professional musicians performing

3519-593: The piano, and the orchestra consisted of Balanchine's friends including Nathan Milstein , Samuel Dushkin , Léon Barzin and Raya Garbousova . Balanchine first considered using Hindemith's score for a ballet in 1941, when the American Ballet was going tour in Latin America, sponsored by the State Department . The piece would be titled The Cave of Sleep , and Pavel Tchelitchew was brought in to design, but

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3588-599: The piano. At the time, Balanchine approached Hindemith's agent about a commissioned and learned that it would cost five hundred dollars, but Hindemith was unavailable at the time. A year later, he became available, and the first part of the music was sent to Balanchine a week later. The piece, "Theme with Four Variations (According to the Four Temperaments), for string orchestra and piano", had its first hearing at Balanchine's apartment in 52 Street , Fifth Avenue , Manhattan, conducted by Edvard Fendler, Nicholas Kopeikine on

3657-474: The project was abandoned due to its cost and Hindemith's objection. Hindemith's piece was ultimately used in The Four Temperaments , the first ballet George Balanchine choreographed for the Ballet Society . The Ballet Society, co-founded by Balanchine and Lincoln Kirstein , was a subscription-only company that would mainly perform new works, and the forerunner of New York City Ballet . One of

3726-506: The reach of ballet in the United States. With these funds Ballet Society published programs and held seminars and workshops with dance scholars, artists and dance teachers. It also commissioned and presented choreography by George Balanchine, Todd Bolender, Merce Cunningham, Lew Christensen, Francisco Moncion , and William Dollar. Ballet Society has worked since 2001 with Eakins Press Foundation to publish works of dance scholarship or that aid dance scholarship. Balanchine and Kirstein opened

3795-437: The same night. Due to the company's subscription-only policy, the press was not invited, but reviewers nevertheless were able to attend the performance by either purchasing a subscription themselves, or as Bernard Taper wrote, "sneaking into the auditorium." New York City Ballet, the successor of Ballet Society, revived The Four Temperaments during one of their earliest performances. Other ballet companies that had performed

3864-452: The service of the School of American Ballet and the New York City Ballet, publishing dance books and developing and funding projects related to the sustenance and encouragement of dance in the United States, while continuing to commission new ballets. Ballet Society's purpose has been to develop an historical and pedagogical foundation for the art of ballet and dance. In its first two decades it received $ 200,000 in grants to research and expand

3933-465: The stage. At the end of this section, the man bend his back backwards. The second variation, "Sanguinic," starts with a duet. Jennings and Bull commented, "Their steps and lifts are lit with morning brightness, hungry and speedy." The New Yorker critic Arlene Croce noted the female role "is an allegro technician; but is also in character." They are then joined by a corps de ballet of four women. The third variation, "Phlematic," also starts with

4002-549: The style of the early Schoenberg , before developing a leaner, contrapuntally complex style in the 1920s. This style has been described as neoclassical , but is quite different from the works by Igor Stravinsky labeled with that term, owing more to the contrapuntal language of Johann Sebastian Bach and Max Reger than the Classical clarity of Mozart . The new style can be heard in the series of works called Kammermusik (Chamber Music) from 1922 to 1927. Each of these pieces

4071-445: The third pas de deux the music’s speed is gathering." The first variation, "Melancholic," starts with a male principal dancer. On the choreography of this role, Jennings and Bull wrote, "His movements are articulate, plastic and considered, but he is so earth-bound, and so abject. He searches for escape, but is imprisoned by his fascination with his own condition." Then, he joined by two female soloists, before four other women also enters

4140-564: The thirties, with Hindemith falling in and out of favour with the Nazis. During the 1930s, Hindemith visited Cairo and also Ankara several times. He accepted an invitation from the Turkish government to oversee the creation of a music school in Ankara in 1935, after Goebbels had pressured him to request an indefinite leave of absence from the Berlin Academy. In Turkey, he was the leading figure of

4209-652: Was a German and American composer, music theorist , teacher, violist and conductor. He founded the Amar Quartet in 1921, touring extensively in Europe. As a composer, he became a major advocate of the Neue Sachlichkeit (New Objectivity) style of music in the 1920s, with compositions such as Kammermusik , including works with viola and viola d'amore as solo instruments in a neo- Bachian spirit. Other notable compositions include his song cycle Das Marienleben (1923), Der Schwanendreher for viola and orchestra (1935),

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4278-477: Was an exception. It combines the neo-classicism of earlier works with folk song . As a preliminary stage to the composing of this opera, Hindemith wrote a purely instrumental symphony also called Mathis der Maler , which is one of his most frequently performed works. In the opera, some portions of the symphony appear as instrumental interludes; others were elaborated in vocal scenes. Hindemith wrote Gebrauchsmusik (Music for Use)—compositions intended to have

4347-542: Was childless. The Nazis ' relationship to Hindemith's music was complicated. Some condemned his music as " degenerate " (largely based on his early, sexually charged operas such as Sancta Susanna ). In December 1934, during a speech at the Berlin Sports Palace , Germany's Minister of Propaganda Joseph Goebbels publicly denounced Hindemith as an "atonal noisemaker". The Nazis banned his music in October 1936, and he

4416-557: Was described that by shifting to practice clothes, "Balanchine shifted the focus from spectacle to the dance itself and especially to the unadorned body and its natural line, its flexibility, agility, strength and submission to the force above all explored in The Four Temperaments ." It influenced other ballets with similar style choreographed by Balanchine, including Ivesiana , Agon , Movements for Piano and Orchestra , Stravinsky Violin Concerto and Kammermusik No. 2 . The Four Temperaments premiered on November 20, 1946, at

4485-618: Was followed up two years later by a book, Costumes by Karinska , with a chronology compiled for Ballet Society by Edward Bigelow, a former dancer of the NYCB who met Karinska in 1947. In 2014, Ballet Society produced an interactive app on the Apple platform, to foster knowledge of ballet's beginnings, history and evolution as told through its relationship with art, history and classicism. The Four Temperaments (ballet) The Four Temperaments or Theme and Four Variations ( The Four Temperaments )

4554-709: Was performed by The Joffrey Ballet. The School of American Ballet , the affiliate-school of New York City Ballet, had included The Four Temperaments in their annual workshop performances. In 1977, Balanchine, who had long been interested in filming ballets, placed The Four Temperaments as his first choice for PBS ' Dance in America broadcast. Dancers who appeared in this broadcast include Bart Cook , Merrill Ashley , Daniel Duell, Adam Lüders and Colleen Neary. Paul Hindemith Paul Hindemith ( / ˈ p aʊ l ˈ h ɪ n d ə m ɪ t / POWL HIN -də-mit ; German: [ˌpaʊ̯l ˈhɪndəmɪt] ; 16 November 1895 – 28 December 1963)

4623-469: Was still a ballet company, premiered at City Center. This prompted Morton Baum , Chairman of the Finance Committee of City Center of Music & Drama , to invite Balanchine and Kirstein to establish a resident company, renamed the New York City Ballet . Once the dance company was given a stable home at New York City Center, Ballet Society continued to operate separately as a non-profit organization in

4692-591: Was subsequently included in the 1938 Entartete Musik (Degenerate Music) exhibition in Düsseldorf . Other officials working in Nazi Germany , though, thought that he might provide Germany with an example of a modern German composer, as, by this time, he was writing music based in tonality, with frequent references to folk music. The conductor Wilhelm Furtwängler 's defence of Hindemith, published in 1934, takes this line. The controversy around his work continued throughout

4761-540: Was the original cellist. As a composer, he became a major advocate of the Neue Sachlichkeit (New Objectivity) style of music in the 1920s, with compositions such as Kammermusik . Reminiscent of Bach's Brandenburg Concertos , they include works with viola and viola d'amore as solo instruments in a neo-Bachian spirit. In 1922, some of his pieces were played in the International Society for Contemporary Music festival at Salzburg , which first brought him to

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