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Paul Hindemith
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Main page Paul Hindemith (English pronunciation: /hndmt/) (16 November 1895 28
Contents December 1963) was a prolific German composer, violist, violinist, teacher
Featured content and conductor. Notable compositions include his song cycle Das Marienleben
Current events (1923), Der Schwanendreher for Viola and Orchestra (1935), and opera
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Mathis der Maler (1938). Hindemith's most popular work, both on record and
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in the concert hall, is likely the Symphonic Metamorphosis of Themes by Carl
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Maria von Weber, written in 1943.
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Contents
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About Wikipedia 1 Life and career
Community portal 2 Music
Recent changes 2.1 Style
Contact page 2.2 Musical system
3 Works
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4 Pedagogical writings
What links here Paul Hindemith aged 28.
5 Notable students
Related changes
6 Recordings
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7 Media
Special pages
Permanent link
8 Hindemithon Festival
Page information 9 See also
Wikidata item 10 References
Cite this page 11 External links

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 Print/export

Create a book Life and career [edit]

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Printable version Born in Hanau, near Frankfurt am Main, Hindemith was taught the violin as a child. He entered Frankfurt's Hochsche
Konservatorium, where he studied violin with Adolf Rebner, as well as conducting and composition with Arnold
In other projects
Mendelssohn and Bernhard Sekles. At first he supported himself by playing in dance bands and musical-comedy groups.
Wikimedia Commons He became deputy leader of the Frankfurt Opera Orchestra in 1914, and was promoted to leader in 1917. He played
second violin in the Rebner String Quartet from 1914.
Languages

Hindemith was conscripted into the German army in September, 1917 and sent to join his regiment in Alsace in January,
1918.[1] There he was assigned to play bass drum in the regiment band, and also formed a string quartet. In May 1918 he
Bosanski was deployed to the front in Flanders, where he served as a sentry; his diary shows him "surviving grenade attacks only
Brezhoneg
by good luck," according to New Grove Dictionary.[1] After the armistice he returned to Frankfurt and the Rebner
Catal
Quartet.[1]
etina
Dansk In 1921 he founded the Amar Quartet,[2] playing viola, and extensively toured Europe.
Deutsch
In 1922, some of his pieces were played in the International Society for Contemporary Music festival at Salzburg, which
Eesti
first brought him to the attention of an international audience. The following year, he began to work as an organizer of the
Espaol Donaueschingen Festival, where he programmed works by several avant garde composers, including Anton Webern and
Esperanto Arnold Schoenberg. In 1927 he was appointed Professor at the Berliner Hochschule fr Musik in Berlin.[3] Hindemith wrote
Euskara the music for Hans Richter's 1928 avant-garde film Ghosts Before Breakfast (Vormittagsspuk), although the score was

subsequently lost, and he also acted in the film.[4] In 1929 he played the solo part in the premiere of William Walton's
Franais
Viola Concerto, after Lionel Tertis, for whom it was written, turned it down.
Galego
During the 1930s he made a visit to Cairo and several visits to Ankara where (at the invitation of Mustafa Kemal Atatrk)
he led the task of reorganizing Turkish music education and the early efforts for the establishment of the Turkish State
Hrvatski
Opera and Ballet. Hindemith did not stay in Turkey as long as many other migrs. Nevertheless, he greatly influenced
Ido
the developments of Turkish musical life; the Ankara State Conservatory owes much to his efforts. In fact, Hindemith was
Italiano

regarded as a "real master" by young Turkish musicians and he was appreciated and greatly respected.[5]
Towards the end of the 1930s, he made several tours in America as a viola and viola d'amore soloist.
Latina
Latvieu Hindemith's relationship to the Nazis is a complicated one. Some condemned his music as "degenerate" (largely based on
Lietuvi his early, sexually charged operas such as Sancta Susanna), and in December 1934, during a speech at the Berlin

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 Magyar Sports Palace, Germanys Minister of Propaganda Joseph Goebbels publicly denounced Hindemith as an "atonal
Nederlands noisemaker."[6]

Norsk bokml Other officials working in Nazi Germany, though, thought that he might provide Germany with an example of a modern
Norsk nynorsk German composer, as by this time he was writing music based in tonality, with frequent references to folk music; the
Piemontis conductor Wilhelm Furtwngler's defense of Hindemith, published in 1934, takes precisely this line.[7]
Polski
The controversy around his work continued throughout the thirties, with the composer falling in and out of favor with the
Portugus
Romn Nazi hierarchy; he finally emigrated to Switzerland in 1938 (in part because his wife was of partially Jewish ancestry).[8]
This development seems to have been supported by the Nazi regime: it may have got him conveniently out of the way, yet
Simple English
at the same time he propagated a German view of musical history and education. (Hindemith himself said he believed he
Slovenina
was being an ambassador for German culture.)
Slovenina
/ srpski In 1940, Hindemith emigrated to the United States. At the same time that he was codifying his musical language, his
Suomi teaching and compositions began to be affected by his theories, according to critics like Ernest Ansermet.[9] Once in the
Svenska
U.S. he taught primarily at Yale University, where he had such notable students as Lukas Foss, Graham George, Norman
Trke
Dello Joio, Mitch Leigh, Mel Powell, Yehudi Wyner, Harold Shapero, Hans Otte, Ruth Schonthal, Leonard Sarason, and

Ting Vit Oscar-winning film director George Roy Hill. During this time he also gave the Charles Eliot Norton Lectures at Harvard,
from which the book A Composer's World was extracted (Hindemith 1952). Hindemith had a long friendship with Erich
Edit links Katz, whose own compositions were influenced by him.[10]

He became an American citizen in 1946, but returned to Europe in 1953, living in Zrich and teaching at the university
there. Towards the end of his life he began to conduct more, and made numerous recordings, mostly of his own music.

An anonymous critic writing in Opera magazine in 1954, having attended a performance of Hindemith's Neues vom Tage,
noted that "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".[11] He was awarded the Balzan Prize in 1962.

After a prolonged decline in his physical health, although he composed almost to his death, Hindemith died in Frankfurt
from pancreatitis aged 68.

Music [edit]

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 Style [edit]

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 the style of early Arnold Schoenberg, before developing a
leaner, contrapuntally complex style in the 1920s. This style has been
described as neoclassical,[12] but is very 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.[citation needed]
Hindemith (to the left) received the
The new style can be heard in the series of works called Kammermusik Sibelius Prize in 1955 from Antti Wihuri.
(Chamber Music) from 1922 to 1927. Each of these pieces 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 a trio for viola, heckelphone and piano (1928), 7 trios for 3 trautoniums (1930), a sonata for
double bass and a concerto for trumpet, bassoon, and strings (both in 1949), for example.

Around the 1930s, Hindemith began to write less for chamber groups, and more for large orchestral forces. In 193335,
Hindemith wrote his opera Mathis der Maler, based on the life of the painter Matthias Grnewald. This opera is rarely
staged, though a well-known production by the New York City Opera in 1995 was an exception (Holland 1995 ). 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 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 his
Trauermusik (Funeral Music), written in January 1936. Hindemith was preparing the London premiere of Der
Schwanendreher when he heard news of the death of George V. He quickly wrote this piece for solo viola and string
orchestra in tribute to the late king, and the premiere was given that same evening, the day after the king's death.[13]
Other examples of Hindemiths Gebrauchsmusik include:
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 the Plner Musiktage (1932): a series of pieces designed for a day of community music making open to all inhabitants
of the city of Pln, culminating in an evening concert by grammar school students and teachers.
a Scherzo for viola and cello (1934), written in several hours during a series of recording sessions as a "filler" for an
unexpected blank side of a 78 rpm album, and recorded immediately upon its completion.
Wir bauen eine Stadt ("Were Building a City"), an opera for eight-year-olds (1930).

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 Weber, mainly piano duets,
but also one from 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 April 5 of that year.[14] Its second performance took place
under the baton of Hugh McMillan, conducting the Boulder Symphonic Band at the University of Colorado. The piece is
representative of his late works, exhibiting strong contrapuntal lines throughout, and is a cornerstone of the band
repertoire. Hindemith recorded it in stereo with members of the Philharmonia Orchestra for EMI in 1956.

Musical system [edit]

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Most of Hindemith's music employs a unique system that is tonal but non-diatonic. Like most tonal music, it is centred on a
tonic and modulates from one tonal centre to another, but it uses all 12 notes freely rather than relying on a scale picked
as a subset of these notes. Hindemith even rewrote some of his music after developing this system. One of the key
features of his system is that he ranks 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 how dissonant they are, whether
or not they contain a tritone, and whether or not they clearly suggest a root or tonal centre. Hindemith's philosophy also
encompassed melodyhe strove for melodies that do not clearly outline major or minor triads.

In the late 1930s, Hindemith wrote a theoretical book The Craft of Musical Composition (vol. 1, Hindemith 1937), which
lays out this system in great detail. He also advocated this system as a means of understanding and analyzing the

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 harmonic structure of other music, claiming that it has a broader reach than the traditional Roman numeral approach to
chords (an approach that is strongly tied to the diatonic scales). In the final chapter of Book I, Hindemith seeks to illustrate
the wide-ranging relevance and applicability of his system in analysis of music examples ranging from the early origins of
European music to the contemporary. These analyses include an early Gregorian melody, and compositions by Guillaume
de Machaut, J. S. Bach, Richard Wagner, Igor Stravinsky, Arnold Schoenberg, and finally, a composition of his own.

His piano work of the early 1940s Ludus Tonalis contains twelve fugues, in the manner of Johann Sebastian Bach, each
connected by an interlude during which the music moves from the key of the last fugue to the key of the next one. The
order of the keys follows Hindemith's ranking of musical intervals around the tonal center of C.

One traditional aspect of classical music that Hindemith retains is the idea of dissonance resolving to consonance. Much
of Hindemith's music begins in consonant territory, progresses rather smoothly into dissonance, and resolves at the end
in full, consonant chords. This is especially apparent in his Concert Music for Strings and Brass.

Works [edit]

Further information: List of compositions by Paul Hindemith and List of operas by Hindemith

Pedagogical writings [edit]

His complete set of instructional books (in possible educational order)

1. Elementary Training for Musicians (ISBN 0901938165) 1946

2. A Concentrated Course in Traditional Harmony: Book 1, Part 1With Emphasis on Exercises and a Minimum of
Rules, revised edition (ISBN 0901938424) New York: Schott Music, 1968
3. A Concentrated Course in Traditional Harmony: Book 2Exercises for Advanced Students, translated by Arthur
Mendel. (ISBN 0901938432) New York: Schott, 1964
4. The Craft of Musical Composition: Book 1Theoretical Part, translated by Arthur Mendel (London: Schott & Co;
New York: Associated Music Publishers. ISBN 0901938300), 1942 [2]
5. The Craft of Musical Composition: Book 2Exercises in Two-Part Writing, translated by Otto Ortmann. (London:
Schott & Co; New York: Associated Music Publishers. ISBN 0901938416) 1941
6. Unterweisung im Tonsatz 3: Ubungsbuch fr den dreistimmigen Satz [The Craft of Musical Composition: Book 3
Exercises in Three-part Writing]. Mainz: Schott 5205, ISBN 3-7957-1605-5, 251 pages. 1970. Only available in the

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 original German.

Notable students [edit]

For Hindemith's notable students, see List of music students by teacher: G to J Paul Hindemith.

Recordings [edit]

Hindemith conducted some of his own music in 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.[15][16] The Violin Concerto was also recorded by Hindemith for Decca/London, with the composer conducting the
London Symphony Orchestra with David Oistrakh as soloist. Everest Records issued a recording of Hindemith's postwar
When Lilacs Last in 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; the
performances have been released by VAI on home video. A complete orchestral music collection has been recorded by
German and Australian orchestras, all released on the CPO label, recordings all conducted by Werner Andreas Albert.

Media [edit]

Kleine Kammermusik
Hindemithon Festival [edit]
performed by the Soni Ventorum Wind
Quintet
An annual festival of Hindemith's music is held at William Paterson
University in Wayne, New Jersey. It features student, staff, and Problems playing this file? See media help.

professional musicians performing a range of Hindemith's works.

See also [edit]

Music written in all major and/or minor keys

References [edit]
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 Notes
1. ^ a bc Giselher Schubert, "Paul Hindemith," Entry in The New Grove Dictionary of Opera, accessed online in Grove Music
Online, November 2015
2. ^ The Amar Quartet was founded for the Donaueschingen Festival of 1921 and was disbanded in 1929. See an account by
Tully Potter, [1] , and entry under Chamber-Music Players in Eaglefield-Hull 1924, 86.
3. ^ A Dictionary of Twentieth Century World Biography. United Kingdom: Book Club Associates, 1992, p. 267.
4. ^ Wilke, Tobias (2010). Medien der Unmittelbarkeit (in German). Munich: Wilhelm Fink. p. 63. ISBN 978-3-7705-4923-8.
5. ^ Arnold Reisman, ed. (2006). Turkey's Modernization: Refugees from Nazism and Atatrk's Vision . New Academia
Publishing. p. 90. ISBN 0977790886. Retrieved 2013-03-23.
6. ^ Arnold Reisman, ed. (2006). Turkey's Modernization: Refugees from Nazism and Atatrk's Vision . New Academia
Publishing. p. 88. ISBN 0977790886. Retrieved 2013-03-23.
7. ^ Furtwngler 1934.
8. ^ Steinberg, Michael (1998). The Concerto : A Listener's Guide . Oxford University Press. p. 205. ISBN 019802634X.
Retrieved 2013-03-23.
9. ^ 1961, note to p. 42 added on an errata slip
10. ^ Davenport 1970, 43.
11. ^ Opera (June 1954): 348.
12. ^ Taylor 1997, p. 261.
13. ^ Steinberg, Michael (1998). The Concerto : A Listener's Guide . Oxford University Press. p. 212. ISBN 019802634X.
Retrieved 2013-03-23.
14. ^ "Biography" . Hindemith Foundation. Archived from the original on 2001-04-13.
15. ^ "Review | HINDEMITH CONDUCTS HINDEMITH. ORCHESTRAL WORKS. Dennis Drain (hn); Philharmonia Orchestra I
Paul Hindemith. EMI Treasury EG291 173-1; LEI EG291 173-4. Nobilissima visionesuite (from Columbia 33CX1533, 5/58).
Horn Concerto (33CX1279, 12/59)8. Konzertmusik for strings and brass, Op. 50 (33CX1 512, 3/58). Symphony in B flat major
for concert band (33CX1 512, 3/58).". Gramophone. 1987-04-20: 40.
16. ^ "Hindemith Conducts Hindemith: The Complete Recordings on Deutsche Grammophon: Paul Hindemith, Spoken Word,
Paul Hindemith, Berlin Philharmonic Orchestra, Members of the Berlin Philharmonic Orchestra, Berlin Philharmonic Orchestra
[members], Monique Haas, Hans Otte: Music" . Amazon.com. Retrieved 2012-10-07.

Sources

Ansermet, Ernest. 1961. Les fondements de la musique dans la conscience humaine. 2 v. Neuchtel: La Baconnire.
Briner, Andres. 1971. Paul Hindemith. Zrich: Atlantis-Verlag; Mainz: Schott.
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 Bruhn, Siglind (1998). The Temptation of Paul Hindemith. Mathis der Maler as a Spiritual Testimony. Stuyvesant, NY:
Pendragon Press. ISBN 978-1-57647-013-8.
Bruhn, Siglind. 2000. Musical Ekphrasis in Rilke's Marienleben. Internationale Forschungen zur allgemeinen und
vergleichenden Literaturwissenschaft 47. Amsterdam: Rodopi. ISBN 90-420-0800-8.
Bruhn, Siglind. 2005. The Musical Order of the World: Kepler, Hesse, Hindemith. Interplay, no. 4. Hillsdale, NY:
Pendragon Press. ISBN 978-1-57647-117-3.
Davenport, LaNoue. 1970. ""Erich Katz: A Profile" ". The American Recorder (Spring): 4344. Retrieved November
2, 2011.
Furtwngler, Wilhelm. 1934. "Der Fall Hindemith". Deutsche Allgemeine Zeitung 73, no. 551 (Sunday, 25 November):
1. Reprinted in Berta Geissmar, Musik im Schatten der Politik. Zrich: Atlantis, 1945. Reprinted in Wilhelm
Furtwngler, Ton und Wort: Aufstze und Vortrge 1918 bis 1954, 9196. Wiesbaden: F.A. Brockhaus, 1954;
reissued Zrich: Atlantis Musikbuch-Verlag, 1994. ISBN 9783254001993. English version as "The Hindemith Case", in
Wilhelm Furtwngler, Furtwngler on Music, edited and translated by Ronald Taylor, 11720. Aldershot, Hants.:
Scolar Press, 1991. ISBN 978-0-85967-816-2.
Eaglefield-Hull, Arthur. (Ed.). 1924. A Dictionary of Modern Music and Musicians. London: Dent.
Hindemith, Paul. 193770. Unterweisung im Tonsatz. 3 vols. Mainz, B. Schott's Shne. First two volumes in English,
as The Craft of Musical Composition, translated by Arthur Mendel and Otto Ortmann. New York: Associated Music
Publishers; London: Schott & Co., 194142.
Hindemith, Paul. 1952. A Composer's World, Horizons and Limitations. Cambridge: Harvard University Press.
Holland, Bernard. 1995. "Music Review; City Opera Gamely Flirts with Danger ". New York Times, 9 September.
Kater, Michael H. 1997. The Twisted Muse: Musicians and Their Music in the Third Reich. New York and Oxford:
Oxford University Press.
Kater, Michael H. 2000. Composers of the Nazi Era: Eight Portraits. New York and Oxford: Oxford University Press.
Kemp, Ian. 1970. Hindemith. Oxford Studies of Composers 6. London, New York: Oxford University Press.
Neumeyer, David. 1986. The Music of Paul Hindemith. New Haven: Yale University Press.
Noss, Luther. 1989. Paul Hindemith in the United States. Urbana: University of Illinois Press.
Preussner, Eberhard. 1984. Paul Hindemith: ein Lebensbild. Innsbruck: Edition Helbling.
Skelton, Geoffrey. 1975. Paul Hindemith: The Man Behind the Music: A Biography. London: Gollancz.
Taylor, Ronald. 1997. Berlin and Its Culture: A Historical Portrait. Yale University Press. ISBN 0300072007.

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 Taylor-Jay, Claire. 2004. The Artist-Operas of Pfitzner, Krenek and Hindemith: Politics and the Ideology of the Artist.
Aldershot: Ashgate.

Further reading

Luttmann, Stephen. 2013. Paul Hindemith: A Research and Information Guide. New York: Routledge. ISBN 978-1-
135-84841-5.

External links [edit]

Free scores by Paul Hindemith on IMSLP at the International Music Score Library Project
Hindemith Foundation
Hindemith Foundation Catalogue of Works
Schott Musik Publisher page
An Inner Emigration , notes on Hindemith and Der Schwanendreher by Ron Drummond
Publications by and about Paul Hindemith in the catalogue Helveticat of the Swiss National Library

V T E Paul Hindemith
Mrder, Hoffnung der Frauen Das Nusch-Nuschi Sancta Susanna Cardillac Hin und zurck Neues vom Tage
Opera
Mathis der Maler Die Harmonie der Welt The Long Christmas Dinner
Ballet Triadisches Ballett Nobilissima Visione The Four Temperaments Hrodiade

Konzertmusik for Brass and String Orchestra Symphony: Mathis der Maler
Orchestral works
Symphonic Metamorphosis of Themes by Carl Maria von Weber Symphonia Serena Symphony in B-flat for Band

Concertante Der Schwanendreher Clarinet Concerto Kammermusik

Ouvertre zum "Fliegenden Hollnder", wie sie eine schlechte Kurkapelle morgens um 7 am Brunnen vom Blatt spielt
Chamber music
Kammermusik

Instrumental works Viola Sonata, Op. 11 No. 4 Piano Sonata No. 1 Ludus Tonalis

Vocal music When Lilacs Last in the Dooryard Bloom'd Das Marienleben

Collaborations The Flight Across the Ocean

Other compositions Trauermusik Tuttifntchen

Related articles Adolescence (ballet) Gebrauchsmusik Ghosts Before Breakfast

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 List of compositions by Paul Hindemith Category:Compositions by Paul Hindemith

V T E Neoclassical music
Bla Bartk Alfredo Casella Carlos Chvez Aaron Copland Manuel de Falla Radams Gnattali Camargo Guarnieri
Composers Paul Hindemith Arthur Honegger Zoltn Kodly Bohuslav Martin Darius Milhaud Francis Poulenc Maurice Ravel
Igor Stravinsky
Antiche arie e danze Apollo Bachianas Brasileiras Le bourgeois gentilhomme Concert champtre Concerto in D
Concerto in E-flat (Dumbarton Oaks) Divertimento for chamber orchestra after keyboard pieces by Couperin
Harpsichord Concerto Mathis der Maler Octet for winds Oedipus rex Orpheus Premier Menuet Pulcinella
Compositions
The Rake's Progress El retablo de maese Pedro Piano Sonata No. 3 Sonatine bureaucratique Symphony No. 1
Symphony in C Symphony in Three Movements Symphony of Psalms
Tanzsuite aus Klavierstcken von Franois Couperin Le tombeau de Couperin Gli uccelli

Other topics Neoclassical ballet Neoromanticism (music) Neotonality Modernism (music)

V T E Wihuri Sibelius Prize

Jean Sibelius (1953) Paul Hindemith (1955) Dmitri Shostakovich (1958) Igor Stravinsky (1963) Benjamin Britten, Erik Bergman,
Usko Merilinen, & Einojuhani Rautavaara (1965) Olivier Messiaen (1971) Witold Lutoslawski & Joonas Kokkonen (1973)
Krzysztof Penderecki & Aulis Sallinen (1983) Gyrgy Ligeti (2000) Magnus Lindberg (2003) Per Nrgrd (2006) Kaija Saariaho (2009)
Gyrgy Kurtg (2012) Harrison Birtwistle (2015)

WorldCat Identities VIAF: 24622167 LCCN: n79077225 ISNI: 0000 0003 6863 8986 GND: 118551256
SUDOC: 028825136 BNF: cb12058131z (data) HDS: 26964
Authority control
MusicBrainz: 4068eaba-ca03-4c34-9172-2b709b8050e6 NDL: 00468379 ICCU: IT\ICCU\CFIV\034276
BNE: XX1001420 TLS: Paul_Hindemith

Categories: 1895 births 1963 deaths 20th-century classical composers 20th-century conductors (music)
20th-century German musicians Ballet composers Composers for viola Deaths from pancreatitis
German classical composers German classical violists German conductors (music)
German emigrants to the United States German Lutherans German male classical composers
German opera composers Harvard University faculty Hoch Conservatory alumni
Honorary Members of the Royal Philharmonic Society Male opera composers Neoclassical composers
People from Hesse-Nassau Emigrants from Nazi Germany Pupils of Bernhard Sekles
Recipients of the Pour le Mrite (civil class) Yale School of Music faculty

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