The exhibition had as its ominous slogan: ‘He who eats with Jews, dies of it’.
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Two years afterwards, he found himself calumniated at a Düsseldorf exhibition for allegedly purveying Entartete Musik (‘degenerate music’). In 1936 the National Socialists formally prohibited all further performances of every piece that Hindemith had written.
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Though a Gentile himself, Hindemith feared for the safety of his part-Jewish wife Gertrude at the regime’s hands. (For the same celebrations Koussevitzky also commissioned works from Stravinsky, Copland, Prokofiev, Ravel, Roussel, and Respighi.) Later in the decade Hindemith visited America twice, eager to spend as little time as possible in Germany after 1933. Serge Koussevitzky had commissioned from him in 1930 the Concert Music for Brass and Strings, as part of the Boston Symphony Orchestra’s half-century celebrations. Well before Hindemith came to reside in the USA, he had maintained friendly connections with individual Americans. Stove provides the background to the music and the recording for the first CD issue of this extremely rare Philips recording.Īmong the many creative fruits of Paul Hindemith’s American life – spent predominantly at Yale, where he taught from 1940 to 1953 – Ludus Tonalis (1942) ranks with the most significant.
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The fourth spouse of Ingmar Bergman, pianist Käbi Laretei worked with Hindemith on his “Ludus Tonalis”.