{"id":31033,"date":"2025-01-23T09:30:27","date_gmt":"2025-01-23T08:30:27","guid":{"rendered":"https:\/\/www.revuemusicale.ch\/?p=31033"},"modified":"2025-03-14T08:40:13","modified_gmt":"2025-03-14T07:40:13","slug":"nouveautes-allia","status":"publish","type":"post","link":"https:\/\/www.revuemusicale.ch\/en\/critiques\/livres-et-partitions\/2025\/01\/nouveautes-allia","title":{"rendered":"Hindemith as pedagogue and dialogues with Stravinsky"},"content":{"rendered":"<figure id=\"attachment_31043\" aria-describedby=\"caption-attachment-31043\" style=\"width: 1024px\" class=\"wp-caption alignleft\"><img loading=\"lazy\" decoding=\"async\" class=\"wp-image-31043 size-full\" src=\"https:\/\/www.revuemusicale.ch\/wp-content\/uploads\/2025\/01\/PaulHindemithBremen.jpg\" alt=\"\" width=\"1024\" height=\"714\" srcset=\"https:\/\/www.revuemusicale.ch\/wp-content\/uploads\/2025\/01\/PaulHindemithBremen.jpg 1024w, https:\/\/www.revuemusicale.ch\/wp-content\/uploads\/2025\/01\/PaulHindemithBremen-300x209.jpg 300w, https:\/\/www.revuemusicale.ch\/wp-content\/uploads\/2025\/01\/PaulHindemithBremen-768x536.jpg 768w, https:\/\/www.revuemusicale.ch\/wp-content\/uploads\/2025\/01\/PaulHindemithBremen-18x12.jpg 18w, https:\/\/www.revuemusicale.ch\/wp-content\/uploads\/2025\/01\/PaulHindemithBremen-251x175.jpg 251w, https:\/\/www.revuemusicale.ch\/wp-content\/uploads\/2025\/01\/PaulHindemithBremen-502x350.jpg 502w, https:\/\/www.revuemusicale.ch\/wp-content\/uploads\/2025\/01\/PaulHindemithBremen-920x641.jpg 920w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><figcaption id=\"caption-attachment-31043\" class=\"wp-caption-text\">Hindemith at a concert rehearsal in Bremen in 1960. Photo: Veronika Kupczyk, <a href=\"https:\/\/commons.wikimedia.org\/wiki\/File:MitPaulHindemith.jpg?uselang=de\" target=\"_blank\" rel=\"noopener\">Archives familials \/ wikimedia commons<\/a><\/figcaption><\/figure>\n<p>Pedagogy played an important role in Hindemith's life. By the time he was in his thirties, he had already been appointed professor at the Staatliche akademische Hochschule f\u00fcr Musik in Berlin, and when he emigrated to the USA during the Second World War, he held, among other positions, the chair of composition at Yale University. On his return to Europe, he taught musicology at the University of Zurich. This teaching activity continued in his didactic writings, the most famous of which is <em>Unterweisung im Tonsatz<\/em>. Written in 1946, <em>Elementary Training for Musicians <\/em>was a response, on the one hand, to the fact that his pupils often suffered from the empiricism and superficiality of their theoretical knowledge of the elementary principles of music (rhythm, measures, notation, etc.), and, on the other, to the fact that, at the time, most solfeggio books did not offer a good mix of theory and practice. Editions Allia has published the French translation of this book, produced four decades ago by Robert Mermoud for Editions Latt\u00e8s. <em>Elementary music practice<\/em>which, almost 80 years after it was written, remains a reference work in the field, requiring the active participation of students through countless progressive and diversified exercises.<\/p>\n<p><em><img loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-31046 aligncenter\" src=\"https:\/\/www.revuemusicale.ch\/wp-content\/uploads\/2025\/01\/Cover-Hindemith-232x300.jpg\" alt=\"\" width=\"232\" height=\"300\" srcset=\"https:\/\/www.revuemusicale.ch\/wp-content\/uploads\/2025\/01\/Cover-Hindemith-232x300.jpg 232w, https:\/\/www.revuemusicale.ch\/wp-content\/uploads\/2025\/01\/Cover-Hindemith-791x1024.jpg 791w, https:\/\/www.revuemusicale.ch\/wp-content\/uploads\/2025\/01\/Cover-Hindemith-768x994.jpg 768w, https:\/\/www.revuemusicale.ch\/wp-content\/uploads\/2025\/01\/Cover-Hindemith-1187x1536.jpg 1187w, https:\/\/www.revuemusicale.ch\/wp-content\/uploads\/2025\/01\/Cover-Hindemith-1583x2048.jpg 1583w, https:\/\/www.revuemusicale.ch\/wp-content\/uploads\/2025\/01\/Cover-Hindemith-9x12.jpg 9w, https:\/\/www.revuemusicale.ch\/wp-content\/uploads\/2025\/01\/Cover-Hindemith-135x175.jpg 135w, https:\/\/www.revuemusicale.ch\/wp-content\/uploads\/2025\/01\/Cover-Hindemith-271x350.jpg 271w, https:\/\/www.revuemusicale.ch\/wp-content\/uploads\/2025\/01\/Cover-Hindemith-618x800.jpg 618w, https:\/\/www.revuemusicale.ch\/wp-content\/uploads\/2025\/01\/Cover-Hindemith-920x1190.jpg 920w, https:\/\/www.revuemusicale.ch\/wp-content\/uploads\/2025\/01\/Cover-Hindemith-1400x1811.jpg 1400w, https:\/\/www.revuemusicale.ch\/wp-content\/uploads\/2025\/01\/Cover-Hindemith-300x388.jpg 300w, https:\/\/www.revuemusicale.ch\/wp-content\/uploads\/2025\/01\/Cover-Hindemith.jpg 773w\" sizes=\"auto, (max-width: 232px) 100vw, 232px\" \/><\/em><\/p>\n<p><em>Paul Hindemith: Pratique \u00e9l\u00e9mentaire de la musique, 320 p., \u20ac 20.00, Editions Allia, Paris 2024, ISBN 979-10-304-1889-7<\/em><\/p>\n<p>&nbsp;<\/p>\n<h3><strong>Interviews with Stravinsky<\/strong><\/h3>\n<p>The same publishing house also released the <em>Conversations with Igor Stravinsky<\/em>This is the translation of a series of five captivating interviews that American conductor Robert Craft conducted with the 75-year-old composer in 1957, at a time when the latter had been using serialism to create his last stripped-down scores. Their collaboration later produced five further volumes. Stravinsky's answers are precise, often objective, sometimes trenchant and uncompromising, covering a wide range of subjects: episodes from his life, his work, his writing techniques, his interpretation, the people he knew and admired (notably Debussy, Ravel and Satie), his relationship with musicians in his native country and with Diaghilev and the Ballets Russes. We might also mention his interesting reflections on post-war music and its future, and his advice to young composers. The two interlocutors also discuss other arts, mainly literature and painting, in particular the sets designed for ballets and other stage works by the author of <em>The Rite of Spring<\/em>. The book also features a rich black-and-white iconography.<img loading=\"lazy\" decoding=\"async\" class=\"aligncenter wp-image-31044 size-medium\" src=\"https:\/\/www.revuemusicale.ch\/wp-content\/uploads\/2025\/01\/Cover-Stravinsky-232x300.jpeg\" alt=\"\" width=\"232\" height=\"300\" srcset=\"https:\/\/www.revuemusicale.ch\/wp-content\/uploads\/2025\/01\/Cover-Stravinsky-232x300.jpeg 232w, https:\/\/www.revuemusicale.ch\/wp-content\/uploads\/2025\/01\/Cover-Stravinsky-791x1024.jpeg 791w, https:\/\/www.revuemusicale.ch\/wp-content\/uploads\/2025\/01\/Cover-Stravinsky-768x994.jpeg 768w, https:\/\/www.revuemusicale.ch\/wp-content\/uploads\/2025\/01\/Cover-Stravinsky-1187x1536.jpeg 1187w, https:\/\/www.revuemusicale.ch\/wp-content\/uploads\/2025\/01\/Cover-Stravinsky-1583x2048.jpeg 1583w, https:\/\/www.revuemusicale.ch\/wp-content\/uploads\/2025\/01\/Cover-Stravinsky-9x12.jpeg 9w, https:\/\/www.revuemusicale.ch\/wp-content\/uploads\/2025\/01\/Cover-Stravinsky-135x175.jpeg 135w, https:\/\/www.revuemusicale.ch\/wp-content\/uploads\/2025\/01\/Cover-Stravinsky-271x350.jpeg 271w, https:\/\/www.revuemusicale.ch\/wp-content\/uploads\/2025\/01\/Cover-Stravinsky-618x800.jpeg 618w, https:\/\/www.revuemusicale.ch\/wp-content\/uploads\/2025\/01\/Cover-Stravinsky-920x1190.jpeg 920w, https:\/\/www.revuemusicale.ch\/wp-content\/uploads\/2025\/01\/Cover-Stravinsky-1400x1811.jpeg 1400w, https:\/\/www.revuemusicale.ch\/wp-content\/uploads\/2025\/01\/Cover-Stravinsky-300x388.jpeg 300w, https:\/\/www.revuemusicale.ch\/wp-content\/uploads\/2025\/01\/Cover-Stravinsky.jpeg 773w\" sizes=\"auto, (max-width: 232px) 100vw, 232px\" \/><\/p>\n<p><em class=\"size-medium wp-image-31046 aligncenter\">Robert Craft &amp; Igor Stravinsky: Conversations with Igor Stravinsky, 192 p., \u20ac 16.00, Editions Allia, Paris 2024, ISBN 979-10-304-1836-1<\/em><\/p>\n<p><em>\u00a0<\/em><\/p>","protected":false},"excerpt":{"rendered":"<p>Editions Allia recently published a teaching manual by Paul Hindemith and interviews with Igor Stravinsky.<\/p>","protected":false},"author":1,"featured_media":31043,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"_relevanssi_hide_post":"","_relevanssi_hide_content":"","_relevanssi_pin_for_all":"","_relevanssi_pin_keywords":"","_relevanssi_unpin_keywords":"","_relevanssi_related_keywords":"","_relevanssi_related_include_ids":"","_relevanssi_related_exclude_ids":"","_relevanssi_related_no_append":"","_relevanssi_related_not_related":"","_relevanssi_related_posts":"","_relevanssi_noindex_reason":"","pgc_sgb_lightbox_settings":"","footnotes":""},"categories":[1614,1616],"tags":[2122,2120,2121],"class_list":["post-31033","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-critiques","category-livres-et-partitions","tag-igor-stravinsky","tag-paul-hindemith","tag-robert-craft"],"acf":[],"yoast_head":"<!-- This site is optimized 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