1054a. Bruhn, Siglind. The Temptation of Paul Hindemith: “Mathis der Maler” as a
Spiritual Testimony. Stuyvesant, N.Y.: Pendragon, 1998. xvii, 419p. ISBN
1-57647-013-X. ML410 .H685 B69.
A study of the Isenheim Altarpiece, by Mathis Grünewald, which inspired
Hindemith, in an effort to disclose the full significance of the opera. Finds par-
allels in the lives of the painter and composer. The libretto is seen as represent-
ing spiritual crises in both lives. Bibliography, index.- Cook, Susan C. Opera for a New Republic: The “Zeitopern” of Krenek, Weill,
and Hindemith.Studies in Musicology, 96. Ann Arbor, Mich.: UMI Research, - viii, 284p. ISBN 0-8357-1811-5. ML1729 .C66.
Cook defines Zeitoperas a satire on contemporary themes and technology; it
emerged after World War II. American dance music and jazz were often incor-
porated. Attention focuses on Krenek’s Jonny spielt auf,Weill’sDer Zar lässt
sich photographieren,and two works by Hindemith: Hin und zurückand
Neues vom Tage. Genesis and performance histories (not much of that; the
operas faded and had little influence). Well documented with statistics, pro-
duction photos, and notes. Bibliography of about 400 items, index. - Santore, Jonathan Conrad. “Dramatic Action, Motive Deployment, and For-
mal Structure in Hindemith’s Sancta Suxannaand Native Soil.” Ph.D. diss., U.
of California at Los Angeles, 1994. 2v.
E. T. A. Hoffmann (1776–1822)
- Hoffmann, Ernst Theodor Amadeus. Ausgewählte musikalische Werke. Ed.
director Georg von Dadelsen. Munich: Schott, 1971–. M3.1 .H74 M9.
Not seen. V.1–3: Undine;v.4–5: Die lustigen Musikanten; v.6–8 (not yet pub-
lished): Liebe und Eifersucht. - Wilson, Richard L. “Text and Music in the Operas of E. T. A. Hoffmann.”
Ph.D. diss., U. of Southern California, 1988. 610p. - Garlington, Aubrey S., Jr. “E. T. A. Hoffmann’s Der Dichter und der Kompon-
ist and the Creation of German Romantic Opera.” MQ65 (1979): 22–47.
Hoffmann’s Der Dichter und der Komponist (1813) and his other works are
seen as blends of music and fantasy in which “the marvelous is the most indis-
pensable element.” Language and music function together as a higher language—
the language of German romantic opera. - Garlington, Aubrey S. Jr. “Notes on Dramatic Motives in Opera: Hoffmann’s
Undine.” MR32 (1971): 136–145.
Discusses the concept of leading motive with examples from Undine: the char-
acters think of situations, not of musical motives; the listeners translate the
motives into those situations.
E. T. A. Hoffman 205