Paul Hindemith 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 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), 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.
Opera in German is that of the German-speaking countries, which include Germany, Austria, and the historic German states that pre-date those countries.
The term expressionism "was probably first applied to music in 1918, especially to Schoenberg", because like the painter Wassily Kandinsky (1866–1944) he avoided "traditional forms of beauty" to convey powerful feelings in his music. Theodor Adorno interprets the expressionist movement in music as seeking to "eliminate all of traditional music's conventional elements, everything formulaically rigid". This he sees as analogous "to the literary ideal of the 'scream.' " As well Adorno sees expressionist music as seeking "the truthfulness of subjective feeling without illusions, disguises or euphemisms". Adorno also describes it as concerned with the unconscious, and states that "the depiction of fear lies at the centre" of expressionist music, with dissonance predominating, so that the "harmonious, affirmative element of art is banished". Expressionist music would "thus reject the depictive, sensual qualities that had come to be associated with impressionist music. It would endeavor instead to realize its own purely musical nature—in part by disregarding compositional conventions that placed 'outer' restrictions on the expression of 'inner' visions".
Franz Theodor Reizenstein was a German-born British composer and concert pianist. He left Germany for sanctuary in Britain in 1934 and went on to have his teaching and performing career there. As a composer, he successfully blended the equally strong but very different influences of his primary teachers, Hindemith and Vaughan Williams.
August Stramm was a German war poet and playwright who is considered the first of the expressionists. Stramm's radically experimental verse and his major influence on all subsequent German poetry has caused him to be compared to Ezra Pound, Guillaume Apollinaire, James Joyce, and T.S. Eliot. A reserve officer in the Imperial German Army, Stramm was called up to active service at the outbreak of World War I and was killed in action on the Eastern Front.
Gerd Albrecht was a German conductor.
Der Zar lässt sich photographieren is an opera buffa in one act by Kurt Weill, op. 21. The German libretto was written by Georg Kaiser, and Weill composed the music in 1927. It is a Zeitoper, a genre of music theatre which used contemporary settings and characters, satiric plots which often include technology and machinery. Musically the Zeitoper genre tends to be eclectic and borrow from Jazz. The genre has practically disappeared from the world's opera houses. Historically the Zeitoper came to an abrupt end with the Nazi period, and after the war the cultural institutions were perhaps hesitant to return to the lighter, often decadent and comic operas written before the holocaust changed the artistic perspective. This conjecture is supported by the statistical fact that of all of Weill's, Schönberg's, Hindemith's and Krenek's works – it is these very shorter, satirical Zeitoper works that are no longer performed.
Literaturoper, a term coined by the German music critic Edgar Istel, describes a genre of opera that emerged during the late 19th century. When an existing play for the legitimate theatre is set to music without major changes and without the intervention of a librettist, a “Literaturoper” is the result. Although the term is German, it can be applied to any kind of opera, irrespective of style or language.
Murderer, the Hope of Women is a short Expressionist play written by the painter Oskar Kokoschka. It focuses more on the actions and appearances of its characters than on their dialogue. Its performance was received with much criticism, as it was a break from classical drama and part of the modernist avant-garde movement in German culture.
Das Nusch-Nuschi, Op. 20, is an opera in one act by Paul Hindemith, with a German libretto by Franz Blei.
Mörder, Hoffnung der Frauen is an opera in one act by Paul Hindemith, written in 1919 on a German libretto by Oskar Kokoschka which he based on his play of 1907. The opera was the first in a triptych of expressionist one-act operas, the others being Das Nusch-Nuschi, and Sancta Susanna. They were the first operas written by Hindemith. The first two were premiered together in Stuttgart on 4 June 1921, all three were performed at the Oper Frankfurt in 1922.
Die Harmonie der Welt is an opera in five acts by Paul Hindemith. The German libretto was by the composer.
The Legend is a one-act tragic opera composed by Joseph Carl Breil to an English libretto by Jacques Byrne. It premiered at the Metropolitan Opera in New York City on March 12, 1919, in a triple bill with two other one-act operas, John Hugo's The Temple Dancer and Charles Cadman's Shanewis. Its melodramatic story is set in Muscovadia, a mythical country in the Balkans, and involves an impoverished nobleman turned bandit, his daughter Carmelita, and her lover Stephen, a captain in the hussars. The action unfolds over a single night at the end of which both lovers are dead—Stephen stabbed to death by Carmelita and Carmelita shot by Stephen's fellow hussars. The only one of Breil's six operas to be performed by a major opera company, The Legend received scathing press reviews and after its three performances at the Met disappeared from the repertory.
Gabriele Schnaut was a German classical singer who started her operatic career as a mezzo-soprano in 1976 and changed to dramatic soprano in 1985. She performed at the Bayreuth Festival from 1977, in the filmed Jahrhundertring, to 2000. After a breakthrough performance as Richard Wagner's Isolde at the Hamburgische Staatsoper in 1988, she became a leading dramatic soprano on the stages of the world in roles such as Wagner's Brünnhilde and Richard Strauss' Elektra. From 2008, she ventured into dramatic mezzo-soprano character roles such as Klytämnestra in Elektra, Herodias in Salome and Kostelnicka Buryjovka in Leoš Janáček's Jenufa.
Franz Grundheber is a German operatic baritone. He was based at the Hamburg State Opera where he performed over 150 roles from 1966. His voice is flexible enough to sing Italian opera as well as Wagner roles and contemporary opera; he is a stage presence in acting and singing. He has performed at major international opera houses and is known for his performance of the title role of Alban Berg's Wozzeck, filmed for DVD in 1994 in a production staged by Patrice Chéreau.
Erna Ellmenreich was a German operatic soprano, a member of the Staatstheater Stuttgart. She performed there leading parts and several premieres, including Ariadne auf Naxos by Strauss and works by Paul Hindemith.
Die Harmonie der Welt Symphony, IPH 50, is a symphony by German composer Paul Hindemith composed in 1951, which served as the basis for his opera Die Harmonie der Welt.
Klaviermusik mit Orchester, Op. 29, is a 1923 piano concerto by Paul Hindemith. Subtitled Klavier nur linke Hand, it is a piano concerto for the left hand alone. It was commissioned by the pianist Paul Wittgenstein, who lost his right arm in the World War. He never played the piece, and when he died, his widow refused access to the score. The premiere, after her death, was played in Berlin in 2004, with Leon Fleisher as the soloist and the Berlin Philharmonic conducted by Simon Rattle. It was published by Schott.
Florentina Holzinger is an Austrian choreographer, director and performance artist. Her stage work involves nude all-female casts and sexual acts. She is based in the Netherlands.
