德國作曲家 保羅·欣德米特Paul Hindemith (1895–1963），

保羅·欣德米特（Paul Hindemith,1895–1963年），德國出生的作曲家。雖然他的音樂無一例外地具有鮮明的當代風格，但他仍因巴洛克晚期對位音樂（尤其是巴赫的作品）的影響而經常被歸入新古典主義一派。他的作品以不協和對位、不協和和聲與高超的管弦樂編曲技巧為特點。欣德米特的創作領域幾乎涵蓋了各種類型的音樂體裁。他的早期作品多為實用音樂，即為某一特定目的或特定場合而作。他的音樂作品、著述和教學廣泛影響了現代作曲家。

欣德米特的音樂在納粹德國時期遭禁，1938年他前往美國，後來加入美國國籍。曾在耶魯大學、伯克夏音樂中心和蘇黎世大學任教。

他的作品有歌劇《畫家馬蒂斯》及其同名交響樂（1934年）、《葬禮音樂》（1936年）、《韋伯主題的交響變奏曲》（1944年）、《八重唱》（1958年），以及幾乎各種樂器的奏鳴曲。他著有《作曲家的世界》（1952年）等著作。

Paul Hindemith - Symphonic Metamorphosis of Themes by Carl Maria von Weber

Symphonic Metamorphosis of Themes by Carl Maria von Weber, for orchestra (1943)

I. Allegro
II. "Turandot, Scherzo": Moderato -- Lebhaft
III. Andantino
IV. Marsch

Israel Philharmonic Orchestra
Leonard Bernstein

In his Symphonic Metamorphosis on Themes of Carl Maria von Weber (1943), Hindemith pays homage to the important German early Romantic composer by adapting some of his music -- works for piano duo and for the stage -- as an orchestral suite. It's uncertain whether Hindemith preferred the plural or singular form of the word "metamophosis" in the title; whichever form of the word he intended, it is the key to the music. Hindemith adapts each of the extracts from Weber to serve as the theme for one of the movements, beginning the process of transformation that continues throughout each.

One of the work's highlights is the second movement, in which a "Chinese" flute theme twice receives the Bolero treatment. At first it is incessantly cycled in ever-richening instrumental textures, then the process repeats with "jazzy" syncopated rhythms. At times the percussion instruments take over, and different groups in the orchestra seem to go off in their own tempi, independent of the others. The third movement is notable for an awe-inspiring flute solo, while the two outer two movements are vigorous march tunes. [Allmusic.com]

Art by Enzo Cucchi