Derek wonders about my comparison of Hindemith to Shostakovich:

>And why Shostakovich? He's not the first (or the 10th) person I'd think of
>to compare to Hindemith.

There are many moments in Hindemith where I am reminded of Shostakovich,
both in the finales, (Harmony of the World/Shostakovich 5th or 7th); and
some of the polyphonic writing.  Hindemith's polyphony seems much more
"embedded" in the overall structure of any given mov't, while
Shostakovich's polyphonic moments seem much more localized to my ears.
(Fugue in Shost.  4th Sym/1st mov't, 5th sym/1st mov't as compared to
fugal final mov't of Hindemith's "Harmony....")

You don't hear any Shotakovich in Hindemith's brass and woodwind writing?
Esp.  in the scherzo-like mov't's? (Symphonia Serena/mov't II) Or
Hindemith's unison string declamations?

With regard to calling Hindemith a "thinking man's Shostakovich", I was
making fun of those who would call Shostakovich a guilty pleasure.  I
wouldn't, though I haven't listened to his symphonies in a long time.  With
Hindemith, however, I sense that his musical argument is as respectable as
the overall effect is exhilarating.

I hope this makes more sense.

John Smyth