Profession: composer

Hindemith, the most important inter-war German composer, was one of the most significant European modernists. Sander knew him in Köln, and photographed him. In Berlin he was drawn to Busoni and Varèse, and collaborated with Brecht (who inspired his ideas about ‘utility music’) and with Weill, but fell out with both. He worked with Massine, was commissioned by Balanchine, corresponded with Milhaud and Claudel, and was friends with Britten, Walton and Stravinsky. He met Bartók in Cairo, and taught Bernstein. His relationship with Graham (he composed, she choreographed, they met only once) was testing.

Rossini asserted that he’d succeeded in visiting Beethoven in Vienna, his second attempt finding the great man cordial though living in what Rossini termed squalor. Chopin was impressed by him, Saint-Saëns had his support, Verdi (an admirer) was a correspondent. Fellow bon-viveur Balzac threw a party for him, while at one of Dumas’ he went dressed up as Figaro. Among other Paris friends were Cherubini, Paganini, Bellini and Chateaubriand. He received Wagner after a première, without having too much time for his music, and said that he and Meyerbeer could never agree, Meyerbeer preferring sauerkraut to macaroni.

Hartmann and Andersen were close friends, Hartmann composing music to Andersen’s words. He also had a close family and professional association with Gade — they co-directed the Copenhagen Conservatory and were the two lynchpins of Danish romanticist music. Grieg briefly studied with them, greatly esteeming Hartmann. Spohr (an important influence), Cherubini and Rossini were met on travels to Germany and France. Liszt travelled from Hamburg to Copenhagen with Hartmann, and later in Weimar conducted on of the two operas he had written with Andersen.

Balakirev was an early encourager, teaching Rimsky-Korsakov when he was not on naval duty. Borodin (whose music astonished him) and Mussorgsky became good friends and musical accomplices, Mussorgsky lodging with him and sharing a piano. Tchaikovsky and he were mutually wary, Tchaikovsky nonetheless encouraging his belated study of compositional technique when he had already become a professor. While Borodin and Mussorgsky grew critical of his academic activities, his role in editing the work of other members of The Five was significant. Glazunov, Prokofiev, Stravinsky, Diaghilev, Respighi and Kapp all studied with him.