Paul Hindemith

into contemporary music? Definitely.

When I was in my freshman year, when I was starting off with Juilliard Pre-College, at first I started playing Hindemith, and then I went into Walton.

I was a violinist for such a long time.

To me, those pieces did sound weird when I started off.

And it's fascinating how we even start to see these pieces being put on at the same time to make these comparisons.

You know, Suor Angelica and Hindemith's works-

Yes

... to see that actually, of course, they were working with the same kinds of ideas.

Yeah, maybe.

Yeah, but there are so many pieces that I can't recall anymore, like Hindemith Sonatas or other pieces by Frank.

Osho is humming the third movement of the third Hindemith Sonata, for example, here.

It was your favorite, I think.

The theme is, of course, very nice.

On October the 3rd, the Yale Symphony Orchestra perform a work by composer Sean Okbebolo called The Sky Between, a work for violin and orchestra which I can't wait to hear.

Also on the programme is Paul Hindemith's Symphonic Metamorphosis.

He was a one-time composer of composition at Yale.

And on the same day, Greenwich Symphony Orchestra are performing Augustus Halestock's An American Port of Call, which refers to Norfolk, Virginia, which was a major slave trade hub in the 1800s.

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Paul Hindemith originally had the idea of writing variations on themes of Karl Maria von Weber as a ballet after he was approached by choreographer Leonid Massin.

However, after Messine requested more strict arrangements, and Hindemith watched one of his ballets, he instead wrote his Symphonic Metamorphoses on themes of Carl Breer von Weber, which has become one of his most well-known works.

This piece and many more to come on Anytime Classical.

I'm your host, Denise Finnegan-Hill.

Thank you.

Thank you. . . Sonata in G major by Domenico Scarlatti, performed by Angela Hewitt.

Rounding off the hour with Symphonic Metamorphosis by Paul Hindemith.

I can play jazz whenever I want.

Can I play the Hindemith in the same style that the Hindemith should be in, or am I playing it like I'm playing a lead chart?" [laughs] So that kind of juxtaposition of my playing was, was something that I really had to develop when I was here.

Mm-hmm.

How did that, how did that go? I mean, [laughs] was it, was it a, a challenge for you, or was it something that your ear and, you know, you were talking about growing up with your mother and the singing, um, that, you know, you were able to pick that up rather quickly?