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Paul Hindemith
48 Compositions
1916 | Lustige Sinfonietta , op. 4 | 2323-2200-timp+3-str | 30' 00'' |
1917 | Drei Gesänge , op. 9 | 3333-8431-timp+5-2hp-str-soloist(S) | 18' 00'' |
1921 | Rag Time | 3232-4231-timp+4-str | 4' 00'' |
1922 | Tuttifäntchen Suite | 1111-1100-timp+1-str | 19' 00'' |
1922 | Kammermusik No. 1 , op. 24, no.1 | 1011-0100-2perc-pf-str | 16' 00'' |
1924 | Kammermusik No. 2 , op. 36, no.1 | 1121-1110-str(1.0.1.1.1)-soloist(pf) | 20' 00'' |
1925 | Kammermusik No. 3 , op. 36, no.2 | 1111-1110-str(1.0.0.1.1)-soloist(vc_section) | 19' 00'' |
1925 | Kammermusik No. 4 , op. 36, no.3 | 2033-0111-1perc-str(no vln1,no vln2)-soloist(vln) | 23' 00'' |
1925 | Concerto for Orchestra , op. 38 | 2233-3221-timp+5-str | 13' 00'' |
1927 | Kammermusik No. 5 , op. 36, no.4 | 1133-1221-str(no vln1,no vln2,no vla)-soloist(vla) | 20' 00'' |
1927 | Spielmusik , op. 43, no.1 | 2200-0000-str | 7' 45'' |
1927 | Five Pieces for String Orchestra , op. 44, no.4 | str | 14' 00'' |
1927 | Kammermusik No. 6 , op. 46, no.1 | 1121-1110-str(no vln1,no vln2,no vla)-soloist(vla) | 18' 00'' |
1927 | Kammermusik No. 7 , op. 46, no.2 | 2123-1110-str(no vln1,no vln2,no vla)-soloist(org) | 16' 00'' |
1930 | Neues vom Tage Concert Overture | 2233-1221-3perc-str | 8' 00'' |
1930 | Konzertmusik for Viola and Large Chamber Orchestra (Definitive Fassung) , op. 48 | 2223-3211-str(no vln1,no vln2,no vla)-soloist(vla) | 20' 00'' |
1930 | Konzertmusik for Viola and Large Chamber Orchestra (Frühe Fassung) , op. 48 | 2223-3110-str(no vln1,no vln2,no vla)-soloist(vla) | 20' 00'' |
1930 | Konzertmusik for Strings and Brass , op. 50 | 0000-4431-str | 17' 00'' |
1931 | Das Unaufhörliche | 3223-3221-timp+1-org-str-chorus(SATB)-soloists(SBarTB) | 1h 25' 00'' |
1931 | Konzertstück for Trautonium and Strings | str-soloist(trautonium) | 9' 00'' |
1931 | "Es trägt die Nacht" aus Das Unaufhörliche | 2111-1000-str-soloist(S) | 5' 00'' |
1932 | Philharmonic Concerto | 3333-4331-timp+3-str | 23' 00'' |
1934 | Symphonie "Mathis der Maler" | 2222-4231-timp+3-str | 25' 00'' |
1935 | Der Schwanendreher | 2122-3110-timp-hp-str-soloist(vla) | 27' 00'' |
1936 | Trauermusik | str-soloist(vla) | 6' 00'' |
1937 | Symphonic Dances | 2222-4231-timp+5-str | 28' 00'' |
1938/2014 | Sonata for Bassoon (arr. Tarkmann ) | 1120-1110-hp-str | 8' 00'' |
1938 | Nobilissima visione Suite | 2222-4231-timp+4-str | 21' 00'' |
1939 | Concerto for Violin | 2232-4231-timp+3-str-soloist(vln) | 29' 00'' |
1940 | Concerto for Violoncello | 2232-4231-timp+5-cel-str-soloist(vc) | 25' 00'' |
1940 | Symphony in E-flat | 3333-4331-timp+5-str | 31' 00'' |
1940 | Theme and Variations | str-soloist(pf) | 29' 00'' |
1941/2014 | A frog he went a-courting (arr. Tarkmann ) | 1120-0000-hp-str-soloist(bsn) | 6' 00'' |
1942 | Sechs Lieder aus "Das Marienleben" | 2332-2220-timp+2-str-soloist(S) | 26' 00'' |
1943 | Symphonic Metamorphosis of Themes by Carl Maria von Weber | 3333-4231-timp+5-str | 21' 00'' |
1943 | Amor und Psyche Overture | 2222-2220-timp+1-str | 6' 00'' |
1946 | Symphonia serena | 3333-4221-timp+4-cel-str | 29' 00'' |
1946 | When Lilacs Last in the Dooryard Bloom'd | 2222-3321-timp+3-org-str-chorus(SATB)-soloists(MBar) | 1h 06' 00'' |
1947 | Concerto for Clarinet | 3202-2220-timp+3-str-soloist(cl) | 24' 00'' |
1949 | Concerto for for Woodwinds, Harp, and Orchestra | 0000-2210-str-soloists(fl,ob,cl,bsn,hp) | 16' 00'' |
1949 | Concerto for Horn | 1222-0000-timp-str-soloist(hn) | 15' 00'' |
1949 | Sinfonietta in E | 2222-3121-timp+1-cel-str | 19' 00'' |
1951 | Die Harmonie der Welt Symphony | 2233-4231-timp+6-str | 35' 00'' |
1952 | Concerto for Trumpet and Bassoon | str-soloists(bsn,tpt) | 16' 00'' |
1958 | Suite of French Dances | 2201-0100-str | 15' 00'' |
1958 | Pittsburgh Symphony | 2333-4231-timp+4-str | 21' 00'' |
1960 | Marsch über den alten "Schweizerton" | 2222-4231-timp+3-str | 4' 00'' |
1962 | Concerto for Organ | 2223-2231-timp+2-cel-str-soloist(org) | 27' 00'' |
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We Want Your Help!
Are you passionate about orchestral repertoire, equitable programming, and advancement of music of living composers? We'd like to work with you.