Editing Paul Hindemith (section)

==Life and career==
Paul Hindemith was born in [[Hanau]], near [[Frankfurt]], the eldest child of the painter and decorator Robert Hindemith from [[Lower Silesia]] and his wife Marie Hindemith, née Warnecke.<ref name="lexm" /> He was taught the violin as a child. He entered Frankfurt's [[Hoch Conservatory|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 the [[Oper Frankfurt|Frankfurt Opera Orchestra]] in 1914 and was promoted to [[concertmaster]] in 1916.<ref name="Mootz">{{cite news |last=Mootz |first=William |title=Hindemith To Conduct Sinfonietta Here Next Week |url=https://www.newspapers.com/clip/52000849/paul-hindemith-mootz/ |work=[[The Courier-Journal]] |location=Louisville, KY |date=19 February 1950 |page=69 |via=[[Newspapers.com]] |access-date=24 May 2020}}</ref> He played second violin in the [[Adolf Rebner|Rebner]] [[String quartet|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.<ref name="ReferenceA">{{cite encyclopedia |last=Schubert |first=Giselher |author-link=Giselher Schubert |title=Hindemith, Paul |encyclopedia=[[Grove Music Online]] |url=https://www.oxfordmusiconline.com/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-0000013053 |url-access=subscription |publisher=[[Oxford University Press]] |location=Oxford |year=2001 |isbn=978-1-56159-263-0 |doi=10.1093/gmo/9781561592630.article.13053}} {{Grove Music subscription}}</ref> There he was assigned to play bass drum in the regiment band, and also formed 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]]''.<ref name="ReferenceA"/> After the armistice he returned to Frankfurt and the Rebner Quartet.<ref name="ReferenceA"/>

In 1921, Hindemith founded the [[Amar Quartet]], playing viola, and extensively toured Europe with an emphasis on contemporary music. His younger brother [[Rudolf Hindemith|Rudolf]] was the original cellist.<ref>{{cite AV media notes |type=Liner notes |url=https://arbiterrecords.org/catalog/hindemith-as-interpreter-the-amar-hindemith-string-quartet/ |first=Tully |last=Potter |publisher=Arbiter Records |id=139 |title=Hindemith as Interpreter: The Amar-Hindemith Quartet |date=2003 |access-date=7 April 2023}}</ref>

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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 (Hindemith)|Kammermusik]]''. Reminiscent of Bach's ''[[Brandenburg Concertos]]'', they include works with viola and viola d'amore as solo instruments in a neo-Bachian spirit.<ref name="www.roh.org.uk">{{Cite web|url=http://www.roh.org.uk/people/paul-hindemith|title=Paul Hindemith — People — Royal Opera House|website=www.roh.org.uk|access-date=22 August 2018}}</ref> In 1922, some of his pieces were played in the [[International Society for Contemporary Music]] festival at [[Salzburg]], which first brought him to 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 [[Berlin University of the Arts|Berliner Hochschule für Musik]] in Berlin.<ref name="Dict.">''A Dictionary of Twentieth Century World Biography''. United Kingdom: [[Book Club Associates]], 1992, p. 267.</ref> Hindemith wrote the music for [[Hans Richter (artist)|Hans Richter]]'s 1928 avant-garde film ''[[Ghosts Before Breakfast]]'' (''Vormittagsspuk'') and also acted in the film; the score and original film were later [[Nazi book burnings|burned by the Nazis]].<ref>{{cite book|last1=Wilke|first1=Tobias|title=Medien der Unmittelbarkeit|year=2010|publisher=Wilhelm Fink|location=Munich|isbn=978-3-7705-4923-8|page=63|language=de}}</ref> In 1929, Hindemith played the solo part in the premiere of [[William Walton]]'s [[Viola Concerto (Walton)|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).<ref name="lexm">{{cite encyclopedia |last=Maurer Zenck |first=Claudia |editor-first1=Claudia |editor-last1=Maurer Zenck |editor-first2=Peter |editor-last2=Petersen |editor-first3=Sophie |editor-last3=Fetthauer |url=https://www.lexm.uni-hamburg.de/object/lexm_lexmperson_00002010 |title=Paul Hindemith |encyclopedia=[[Lexikon verfolgter Musiker und Musikerinnen der NS-Zeit]] |date=2018 |publisher=Universität Hamburg |location=Hamburg |access-date=8 August 2020}}</ref> The marriage was childless.<ref>{{cite web|url=http://www.hindemith.info/en/life-work/biography/1918-1927/life/marriage/|title=Marriage: Paul Hindemith|website=www.hindemith.info}}</ref>

The [[Nazism|Nazis]]' relationship to Hindemith's music was complicated. Some condemned his music as "[[Degenerate art|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".<ref name=turk/> The Nazis banned his music in October 1936, and he was subsequently included in the 1938 [[Degenerate music|Entartete Musik]] (Degenerate Music) exhibition in [[Düsseldorf]].<ref name="ORT">{{Cite web|url=http://holocaustmusic.ort.org/politics-and-propaganda/third-reich/hindemith-paul/|title=Music and the Holocaust: Paul Hindemith |publisher=[[World ORT|ORT]] |website=holocaustmusic.ort.org |access-date=22 August 2018}}</ref> 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.<ref>Furtwängler 1934.</ref> The controversy around his work continued throughout 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.<ref name="ORT" /> In Turkey, he was the leading figure of 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 a "real master", and he was appreciated and greatly respected.<ref name=turk>{{cite book |title=Turkey's Modernization: Refugees from Nazism and Atatürk's Vision |year=2006 |publisher=New Academia Publishing |isbn=978-0-9777908-8-3 |chapter=Chapter 5: The Creators |pages=88–90 |chapter-url=https://books.google.com/books?id=oMc8EAAAQBAJ&pg=PA26 |editor-first=Arnold |editor-last=Reisman |access-date=5 April 2023}}</ref>

[[File:Paul Hindemith USA.jpg|thumb|Hindemith during the 1940s]]
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.<ref>{{cite book |last=Steinberg |first=Michael |title=The Concerto: A Listener's Guide |url=https://books.google.com/books?id=t8oXNX2tY8AC&pg=PA205 |publisher=Oxford University Press |year=1998 |page=205 |access-date=23 March 2013 |isbn=978-0-19-802634-1}}</ref>

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]].<ref>Ansermet 1961, note to p.&nbsp;42 added on an errata slip.</ref> Arriving in the U.S. in 1940, he taught primarily at [[Yale University]],<ref>{{cite news |date=25 October 1964 |title=Yale Plans to honor Composer Paul Hindemith |url=https://www.newspapers.com/clip/52001131/paul-hindemith-yale/ |work=[[The Bridgeport Post]] |location=Bridgeport, CT |page=46 |via=[[Newspapers.com]] |access-date=24 May 2020}}</ref> where he founded the Yale Collegium Musicum.<ref name="www.roh.org.uk" /> At Yale, he required his students to study composition and theory from his pedagogical work, ''The Craft of Musical Composition'', among other educational texts. Because of his commitments outside the university, the number of composers who studied under Hindemith was small. According to Luther Noss's ''A History of the Yale School of Music 1855–1970'', Hindemith taught for a little over ten years, teaching 400 students, of whom 46 earned degrees, mostly in music theory.<ref>{{Cite journal |last1=Forte |first1=Allen |last2=Hindemith |first2=Paul |date=January 21, 1998 |title=Paul Hindemith's Contribution to Music Theory in the United States |url=http://links.jstor.org/sici?sici=0022-2909%28199821%2942%3A1%3C1%3APHCTMT%3E2.0.CO%3B2-1&origin=crossref |journal=Journal of Music Theory |volume=42 |issue=1 |pages=6 |doi=10.2307/843851|jstor=843851 }}</ref> He had such notable students as [[Lukas Foss]], [[Graham George]], [[Andrew Hill (jazz musician)|Andrew Hill]], [[Norman Dello Joio]], [[Mel Powell]], [[Yehudi Wyner]], [[Harold Shapero]], [[Hans Otte]], [[Ruth Schönthal]], [[Samuel Adler (composer)|Samuel Adler]], [[Leonard Sarason]], Fenno Heath, [[Mitch Leigh]], and [[George Roy Hill]]. Hindemith also taught at the [[University at Buffalo]], [[Cornell University]], and [[Wells College]].<ref>{{cite web|url=http://www.hindemith.info/en/life-work/biography/1939-1945/life/courses-as-an-instructor/|title=Courses as an Instructor: Paul Hindemith|website=www.hindemith.info}}</ref> During this time he gave the [[Charles Eliot Norton Lectures]] at [[Harvard]], from which the book ''A Composer's World'' (1952) was extracted.<ref>Hindemith, Paul (1952). ''A Composer's World: Horizons and Limitations''. Cambridge: Harvard University Press.</ref> Hindemith had a long friendship with [[Erich Katz]], whose compositions were influenced by him.<ref>Davenport 1970, p. 43.</ref> Also among Hindemith's students were the future rocket scientist [[Wernher von Braun]]<ref>{{cite book |last=Ward |first=Bob |date=2005 |title=Dr. Space: The Life of Wernher von Braun |isbn=978-1-591-14926-2 |page=11|publisher=Naval Institute Press}}</ref> and the composers [[Franz Reizenstein]], [[Harald Genzmer]], [[Oskar Sala]], [[Arnold Cooke]],<ref>Lessing, Kolja (2002). [http://www.eda-records.com/177-1-CD-Details.html?cd_id=49 Notes to ''Franz Reizenstein: Solo Sonatas'']. EDA Records.</ref> [[Robert Strassburg]],<ref>{{cite book|url=https://books.google.com/books?id=ugfWDQAAQBAJ&pg=PA522|title=Composer Genealogies: A Compendium of Composers, Their Teachers, and Their Students|first1=Scott|last1=Pfitzinger|date=2017|publisher=Rowman & Littlefield|via=Google Books|page=522|isbn=978-1-4422-7225-5}}</ref> and [[List of music students by teacher: G to J#Paul Hindemith|dozens of other notables]].

[[File:Paul Hindemith receives the Sibelius award from Antti Wihuri in Helsinki, 1955.jpg|thumb|Hindemith (left) received the [[Wihuri Sibelius Prize]] in 1955 from [[Jenny and Antti Wihuri Foundation|Antti Wihuri]].]]
Hindemith became a [[Citizenship of the United States|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.<ref name="www.roh.org.uk" /><ref name="ORT" /> Toward the end of his life he began to conduct more and made numerous recordings, mostly of his own music.<ref name="ORT" />

In 1954, an anonymous critic for ''Opera'' magazine, having attended a performance of Hindemith's ''[[Neues vom Tage]]'', wrote: "Mr Hindemith is no virtuoso conductor, but he does possess an extraordinary knack of making performers understand how his own music is supposed to go."<ref>''Opera'' (June 1954): 348.</ref>

Hindemith received the [[Wihuri Sibelius Prize]] in 1955.<ref name="Obituary" /> 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."<ref name="Obituary">{{cite news |date=30 December 1963 |title=Paul Hindemith, modern music pioneer, succumbs at age 68 |url=https://www.newspapers.com/clip/52001620/paul-hindemith-obituary/ |work=[[Intelligencer Journal]] |location=Lancaster, Pennsylvania |page=9 |via=[[Newspapers.com]] |access-date=24 May 2020}}</ref><ref>{{cite news|url=http://www.balzan.org/en/prizewinners/paul-hindemith|title=Paul Hindemith: 1962 Balzan Prize for Music |access-date=22 August 2018}}</ref>

[[File:HindemithGrab.JPG|thumb|Swiss gravesite]]

Despite 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, [[Saint-Légier-La Chiésaz|La Chiésaz]], Canton of Vaud, Switzerland.<ref name="lexm" />