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Bibliografia Essenziale Su Paul Hindemith E Sancta Susanna

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Bibliografia Essenziale Su Paul Hindemith E Sancta Susanna BIBLIOGRAFIA ESSENZIALE SU PAUL HINDEMITH E SANCTA SUSANNA a cura di Francesco Degrada A. Lettere e altre testimonianze biografiche M o d e r n e : G e s ch i chte und Dokumentation in H.Strobel, Paul Hindemith: Testimony in Pic - vier Bänden, Die Internationalen Ferienkurse tures / Zeugnis in Bildern, Mainz, 1955. für Neue Musik Darmstadt, 1 9 4 6 - 1 9 6 6 , Fr e i- Paul Hindemith: die letzten Jahre, Mainz and burg im Breisgau, 1997 (4 voll.). Zürich, 1965. F. B u l l m a n n , W. R a t h e r t , D. S c h e n k , Pa u l P. H i n d e m i t h , Jugendbriefe von Paul Hinde - Hindemith in Berlin, Berlin, 1997. mith aus den Jahren 1916-1919 , in «Hinde- G. S c h u b e r t , Hindemiths Briefe an Hans m i t h - Jahrbuch / Annales Hindemith», I I Boettcher, in «Hindemith-Jahrbuch / Annales (1972), pp. 181-207. Hindemith», 26 (1997), pp. 196-214. G. B e n n , B r i e f e. I I I : B r i e f w e chsel mit Pa u l G. Nickel, G. Schubert (a cura di), Carl Zuck - Hindemith, Wiesbaden und München, 1978. mayer, Paul Hindemith: Briefwechsel, St. Ing- P. Sulzer (a cura di), Zehn Komponisten um bert, 1998. Werner Reinhart. I,II: Ein Ausschnitt aus dem Berliner A B C. Das private A d r e s s b u ch von Wirkungskreis des Musikkollegiums Wi n t e r - Paul Hindemith , Berlin, 1999. thur 1920-1950; III: Briefwechsel,Winterthur, 1979, 1980, 1983. B. Monografie e studi generali D. Rexroth (a cura di), Paul Hindemith Brie - su Paul Hindemith fe , Frankfurt, 1982. H . S t r o b e l , Paul Hindemith , M a i n z , 1 9 2 8 ; C. Z i m m e r m a n n - K a l y o n i c u , D e u t s che Mu - 19483. siker in der Türkei im 20. Jahrhundert, Frank- I. Kemp, Hindemith, London, 1970. furt, 1985. «Hindemith-Jahrbuch» (1971-). A.Briner, D. Rexroth, G. Schubert, Paul Hin - A .B r i n e r, Paul Hindemith , Zürich und Mainz, d e m i t h : Leben und Werk in Bild und Te x t , 19 7 1 . Mainz, 1988. «Revue Musicale de la Suisse Romande», L. Noss, Paul Hindemith in the United States, XXVI/2 (1973) [numero dedicato a Hinde- Urbana, IL, 1989. mith]. F. Becker, G. Schubert (a cura di), Paul Hin - G. S k e l t o n , Paul Hindemith: the Man behind demith:‘Das private Logbuch’:Briefe an seine the Music, London, 1975. Frau Gertrud, Mainz, 1995. G. Schubert, Hindemith, Hamburg, 1981. L. K.Gerhartz,A.Maul, Frankfurt feiert Hin - E.Preussner, Paul Hindemith:ein Lebensbild, demith, Mainz, 1995. Innsbruck, 1984. G. Skelton (a cura di), Selected Letters of F. - G. R ö s s l e r, Paul Hindemith: M e s s e , M ü n- Paul Hindemith , New Haven, CT, 1995. chen, 1985. Paul Hindemiths in der Berliner Philharmo - F. Streller, Paul Hindemith für Sie portraitiert, nie am 12. November 1995, Mainz, 1995. Leipzig, 1985. S. Schaal, A. Storm-Rusche, Paul Hindemith: D. Neumeyer, The Music of Paul Hindemith, der Komponist als Zeichner, Zürich, 1995. New Haven, CT, 1986. D. Johns, “Aimez-vous Brahms?”: Ein Hinde - H .S. O h , Studien zur kompositorischen Ent - m i t h - S ch e n k e r- B r i e f w e ch s e l , in Über Hinde - w i cklung des jungen Hindemith , Fr a n k f u r t , m i t h : Au f s ä t ze zu We r k ,Asthetik und Inter - 1992. pretation, Mainz, 1996, pp. 283-293. W. Jens, ‘Ein Mann will einen Berg besteigen’: G. Borio, H.Danuser (a cura di), Im Zenit der Rede anlässlich des Festaktes zum 100. G e - 63 burtstag, «Musica»,XLIX (1995) [numero de- r u m : Fe s t s chrift Wolfgang Boettich e r , B e r l i n , dicato a Hindemith]. 1974, pp. 106-119. «Neue Zeitschrift für Musik», 156/5 (1995) J. - H . L e d e r e r, Zu Hindemiths Idee einer [numero dedicato a Hindemith]. Rhythmen- und Formen-Lehre, in «Musikfor- «Ostinato rigore. Revue internationale d’étu- schung», XXIX (1976), pp. 21-36. des musicales», 6-7 (1995-96) [numero dedi- G. M e t z , M e l o d i s che Polyphonie in der cato a Hindemith]. Z w ö l f t o n o rd n u n g :Studien zum Ko n t r a p u n k t S. S c h a a l ,L . S c h a d e r, Über Hindemith: Au f - Paul Hindemiths , Baden-Baden, 1976. s ä t ze zu We r k , Ästhetik und Interpretation , G. S a n n e m ü l l e r, Der Plöner Musiktag von Mainz, 1996. Paul Hindemith , Neumünster, 1976. S. Bruhn, The Temptation of Paul Hindemith, D. R e x r o t h , Erprobungen und Erfahrungen: New York, 1998. zu Paul Hindemiths Schaffen in den Zwanzi - G. M e t z , Über Paul Hindemith und die ger Jahren, Frankfurt, 1978. S ch w i e r i g k e i t , seine Musik zu rezipieren , G. S c h u b e r t , Kontext und Bedeutung der Saarbrücken, 1998. “Ko n ze r t m u s i k e n ”H i n d e m i t h s , in «Hambur- N. B o l í n , Paul Hindemith: Komponist zwi - ger Jahrbuch für Musikwissenschaft», I V schen Tradition und Avantgarde , Mainz, 1999. (1980), pp. 85-114. J. P. Fri c k e, Hindemiths theoretische Grundle - C. Altri studi sulla musica e il pensiero gung der Kom p o s i t i o n s t e chnik in seiner “U n - compositivo di Paul Hindemith terweisung im Ton s a t z ” , in D. Altenburg (a cu- N. Cazden, Hindemith and Nature, in «Music ra di), Ars musica, musica scientia: Fes t s ch r i f t Review», XV (1954), 288-306. He i n r i ch Hüsche n , K ö l n ,1 9 8 0 ,p p. 15 9 - 1 7 0 . R . S t e p h a n , H i n d e m i t h ’s Marienleben , i n D. Br e n n e c k e, “. .ein ideal edler und möglich - «Music Review», XV (1954), 275-287. st vollkommener Musik...” :Paul Hindemiths H.Mersmann, Paul Hindemith,Deutsche Mu - Verhältnis zur Tra d i t i o n , in «Jahrbuch der Mu- sik des XX. Jahrhunderts im Spiegel des Welt - sikbibliothek Peters», III (1981), pp. 86 - 1 1 5 . geschehens, Rodenkirchen, 1958. H . Ko h l h a s e, Au s s e r m u s i k a l i s che Te n d e n ze n V. L a n d a u , Paul Hindemith: a Case Study in im Fr ü h s chaffen Paul Hindemiths: Ve r s u ch Theory and Practice , in «Music Review», XX I über die Kammermusik no. 1 mit Finale 1921 , ( 1 9 6 0 ) ,p p. 38 - 5 4 . in «Hamburger Jahrbuch für Musikwissen- H. Boatwright, Paul Hindemith as a Teacher, schaft», VIII (1985), pp. 183-223. in «Musical Quarterly», l (1964), pp. 279-289. G. M e t z , Das Webern-Zitat in Hindemiths H.F. Re d l i c h , Paul Hindemith: a Reassessment , Pittsburgh Symphony , in «Archiv für Mu- in «Music Review», XXV (1964), pp. 24 1 - 2 5 4 . sikwissenschaft», XLII (1985), pp. 200-212. R.Bobbitt, Hindemith’s Twelve-Tone Scale, in D. N e u m e y e r, Tonal Form and Proportional «Music Review», XXVI (1965), pp. 104-117. Design in Hindemith’s Music , in «Music F. R e i z e n s t e i n , H i n d e m i t h : Some A s p e r s i o n s Theory Spectrum», IX (1987), pp. 93-116. An sw e r e d , in «Composer», n.15 (1965), pp. 7- 9 . G.Sc h u b e r t , Paul Hindemith:Theorie und Praxis, W. Th o m s o n , H i n d e m i t h ’s Contribution to Musik und Th e o r i e , Ma i n z ,1 9 8 7 ,p p. 56 - 7 3 . Music Theory, «Journal of Music Theory», IX S. Hinton, The Idea of Gebrauchsmusik, New (1965), pp. 52-71. York, 1989. W. W.Austin, Hindemith, in Music in the 20th T. H i r s b r u n n e r, Zur Entstehung von Pa u l Century, New York, 1966, pp. 396-416. Hindemiths Oper “Mathis der Maler”, in «Ar- T. W. A d o r n o, Ad vocem Hindemith: t h e chiv für Musikwissenschaft», X LVII (1990), Case against Gebrauch s m u s i k , I m p r o m p t u s , pp. 62-72. Fr a n k f u r t , 1 9 6 8 , p p. 51-87 (trad. i t . M i l a n o, D. N e u m a y e r, G. S c h u b e r t , Arnold Sch o e n - 1 9 7 3 ,p p.
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