As is the case with 'Trauermusik', there now exists an organ version of its sister work. Heribert Breuer, choir director and professor in Berlin, arranged the score for the organ, thus opening up further possibilities for this expressive piece. It is perfectly suitable for church concerts and can be performed without great difficulty. Instrumentation : cello and organ

Edition Schott

The opulent music of this masterpiece by Paul Hindemith is perfectly suitable for an organ version. Although the organ is one of the few instruments never played by Hindemith, the three sonatas and two organ concertos created by the composer are important pieces for the organ. The transcription of the symphony 'Mathis der Maler' by Heribert Breuer is an effective challenge for ambitious organ players which gives the performer the opportunity to show his skills and make full use of the tonal qualities of his instrument. Instrumentation : organ

The chamber music works are among Hindemith's most successful instrumental works of the 1920s. At the world premiere of 'Chamber Music No. 1', the audience even demanded a repetition of the third and fourth movements. But the title of the series of works consisting of seven compositions altogether is misleading : the individual pieces actually have concertante soloistic features. No. 2, on the other hand, resembles a piano concerto. The scores are based on Vol. VI/1 (PHA 401) of the Hindemith Complete Edition, edited by Giselher Schubert. Instrumentation : flute, oboe, clarinet, bass clarinet in Bb, bassoon, horn, trumpet in C, trombone, piano, violin, viola, cello and double bass op. 36/1

Eulenburg Miniature Scores

Singing, especially singing in small groups, is a valuable and even the most natural musical activity - that is what Paul Hindemith (1895-1963) firmly believed : 'Everybody has got a voice ... A choir is the least demanding and at the same time best educational tool. ' And that is why singing had always been part of his teaching activities, be it while trying and practising musical-theoretical tasks, be it while rehearsing old and modern choral settings. No wonder that the composer had dealt with choral music all his life, addressing himself to all different kinds of vocal ensembles : to mixed choirs, male-voice and children's choirs, professional choirs and trained singers. He developed his a-cappella style during his training with Arnold Mendelssohn and Bernhard Sekles at the Hoch Conservatoire in Frankfurt. As a consequence, the sketch books from his student days also contain three-part vocal settings on cantus firmi. The sacred choral works presented here (1. Christus, der ist mein Leben, 2. Erhalt uns, Herr, bei deinem Wort, 3. Nun komm, der Heiden Heiland, 4. Gott des Himmels) are not only interesting as compositional studies, but also as sonorous and catchy choral music which can be easily performed by any good church choir. Instrumentation : mixed choir (SABar)

Vier Choralsätze (Quatre mouvements de choral) - mixed choir (SABar). Partition de chœur.

Originally published in the 1940s, Paul Hindemith's remarkable textbooks are still the outstanding works of their kind. In contrast to many musical textbooks written by academic musicians, these were produced by a man who could play every instrument of the orchestra, could compose a satisfying piece for almost every kind of ensemble, and who was one of the most stimulating teachers of his day. It is therefore not surprising that many years later these books should remain essential reading for the student and the professional musician.

The Craft of Musical Composition - Exercises in Two-Part Writing

Edition Schott reflects a wide variety of music and offers a comprehensive music library suitable for students, amateur and professional musicians. Edition Schott ranges from Renaissance to Contemporary solo instruments to orchestra, well-known pieces to interesting rarities and includes about twenty of Schott's acknowledged and well-established instrumental series such as Guitar-Archive, Violin Library, Il Flauto Traverso and Original Music for Recorder. Edition Schott publications share the highest production values and a distinct house style with clear notations, practical page-turns and high-quality paper. Edition Schott maintains and extends the internationally recognized tradition of excellence and reliability established in 1770 by Schott Music. Instrumentation : piano

With more than 1, 200 titles from the orchestral and choral repertoire, from chamber music and musical theatre, Edition Eulenburg is the world's largest series of scores, covering large part of music history from the Baroque to the Classical era and looking back on a long tradition. Instrumentation : orchestra op. 38

With more than 1, 200 titles from the orchestral and choral repertoire, from chamber music and musical theatre, Edition Eulenburg is the world's largest series of scores, covering large part of music history from the Baroque to the Classical era and looking back on a long tradition. Instrumentation : flute, oboe, clarinet, trumpet, horn, bass clarinet and bassoon

Il n'y a que deux choses qui méritent d'être vises, de la bonne musique et une conscience propre.

Notre esprit de vie n'est pas identique à celui de nos ancêtres, et donc leur musique, même si elle est restaurée avec des perfections techniques totales, ne peut jamais nous avoir précisément la même signification qu'elle avait pour eux. Nous ne pouvons pas démolir la barricade qui sépare le monde actuel des choses et des actes passés.

La musique, tant qu'elle existe, prendra toujours son départ de la majeure triade et y reviendra. Le musicien ne peut pas lui échapper plus que le peintre ses couleurs primaires ou l'architecte ses trois dimensions.

Mon Dieu, comment peut-il jamais être un maître de la musique?

La musique est un bruit dénué de sens à moins qu'il ne touche un esprit récepteur.

Votre tâche est, au milieu de la confusion, de la ruée et du bruit, pour saisir le durable, le calme et le sens, et le trouver à nouveau, pour le tenir et le chérir.

La tonalité est une force naturelle, comme la gravité.

Les gens qui font de la musique ensemble ne peuvent pas être des ennemis, du moins pendant que la musique dure.

Les réactions évoquent la musique ne sont pas des sentiments, mais ce sont les images, les souvenirs de sentiments.

Il n'y a que douze tons et ils doivent être traités avec soin.

Ses oeuvres

Ses derniers livres