Paul Hindemith wrote a rhythmically challenging Double Bass Sonata in 1949.

In addition, several important composers who were not directly influenced by Rostropovich wrote cello concertos: György Ligeti, Alexander Glazunov, Paul Hindemith, Toru Takemitsu, Darius Milhaud, Arthur Honegger, Nikolai Myaskovsky, Samuel Barber, Joaquín Rodrigo, Elliot Carter, Erich Wolfgang Korngold, William Walton, Heitor Villa-Lobos, Hans Werner Henze, Bernd Alois Zimmermann and Einojuhani Rautavaara for instance.

Wilder translated plays by André Obey and Jean-Paul Sartre, and wrote the libretti to two operas, The Long Christmas Dinner, composed by Paul Hindemith, and The Alcestiad, composed by Louise Talma and based on his own play.

In 1933-35, Hindemith wrote his opera Mathis der Maler, based on the life of the painter Matthias Grünewald.

Hindemith wrote Gebrauchsmusik ( Music for use )-compositions intended to have a social or political purpose and sometimes written to be played by amateurs.

Hindemith was preparing the London premiere of Der Schwanendreher when he heard news of the death of George V. He quickly wrote this piece for solo viola and string orchestra in tribute to the late king, and the premiere was given that same evening, the day after the king's death.

In the late 1930s, Hindemith wrote a theoretical book The Craft of Musical Composition ( Hindemith 1937 – 70 ), which lays out this system in great detail.

Other composers of Hölderlin settings include Peter Cornelius, Hans Pfitzner, Richard Strauss ( Drei Hymnen ), Max Reger ( An die Hoffnung ), Alphons Diepenbrock ( Die Nacht ), Richard Wetz ( Hyperion ), Josef Matthias Hauer, Hermann Reutter ( an opera, a choral work, 18 songs ), Stefan Wolpe, Paul Hindemith, Benjamin Britten, Hans Werner Henze, Bruno Maderna ( Hyperion, Stele an Diotima ), Heinz Holliger ( the Scardanelli-Zyklus ), Hans Zender ( Hölderlin lesen I-IV ), György Kurtág ( who planned an opera on Hölderlin ), György Ligeti ( Hölderlin-Phantasien ), Hanns Eisler ( Hollywood Liederbuch ), Viktor Ullmann ( who wrote settings in Terezin concentration camp ), Wolfgang von Schweinitz, Walter Zimmermann ( Hyperion, an epistolary opera ) and Wolfgang Rihm.

Paul Hindemith wrote a Sonata for Alto Horn and Piano.

Amongst modern practitioners of the classical music tradition who also write ( or wrote ) on music may be included Alfred Brendel, Charles Rosen, Paul Hindemith and Ernst Krenek.

The following day, from 11 am to 5 pm, Hindemith wrote Trauermusik in homage to the late king.

Stylistically his music was significantly different from the mainstream English school of the middle 20th century ; instead of following in the lyrical, folk-song influenced tradition of Holst, Vaughan Williams and others, he wrote music which was chromatic, contrapuntal, and acerbic — more akin to Schoenberg, Bartók, and Hindemith than to any of his English contemporaries.

Paul Hindemith wrote several short trios for three Trautoniums with three different tunings: bass, middle, and high voice.

Many of those composers wrote pieces for him, including Sergei Prokofiev ( Cello Concerto ), Paul Hindemith ( Cello Concerto ), Mario Castelnuovo-Tedesco ( Cello Concerto ), William Walton ( Cello Concerto ), Vernon Duke ( Cello Concerto ), and Igor Stravinsky ( Piatigorsky and Stravinsky collaborated on the arrangement of Stravinsky's " Suite Italienne ", which was extracted from Pulcinella, for cello and piano ; Stravinsky demonstrated an extraordinary method of calculating fifty-fifty royalties ).

German-American composer Paul Hindemith wrote a series of variations " Frog He Went a Courting " for Cello and Piano.

After studying Weber's music, Hindemith watched one of Massine's ballets and disliked it, so he wrote the Symphonic Metamorphosis instead.

His music is modern without being modernist, combining a reverence for the great Austro-German lineage of composers with very personal innovations in harmony and orchestration ( showing an awareness of the output of composers such as Debussy and Ravel, whose piano music he was known greatly to admire, along with a knowledge of more recent composers in his own German-speaking realm, such as Schoenberg, Berg, Hindemith, etc .).

The music of Paul Hindemith, for example, was banned simply because Hitler did not like it.

In a proposal for transforming the journal, Adorno sought to use Anbruch for championing radical modern music against what he called the " stabilized music " of Pfitzner, the later Strauss, as well as the neoclassicism of Stravinsky and Hindemith.

: Vormittagsspuk (" Ghosts Before Breakfast ", with music by Hindemith ) ( 1928 )

However, in the first decades of the 20th century, several composers such as Debussy, Schoenberg, Berg, Hindemith, Stravinsky, Prokofiev and Bartók started experimenting with ideas that were to have far-reaching consequences for the way music is written and, in some cases, performed.

The poem was set to music by both Paul Hindemith and Roger Sessions.

Paul Hindemith ( 16 November 1895 – 28 December 1963 ) was a German composer, violist, violinist, teacher, music theorist and conductor.

Some condemned his music as " degenerate " ( largely on the basis of his early, sexually charged operas such as Sancta Susanna ), and in December 1934, during a speech at the Berlin Sports Palace, Germany ’ s Minister of Propaganda, Joseph Goebbels publicly denounced Hindemith as an " atonal noisemaker.

Other officials working in Nazi Germany, though, thought that he might provide Germany with an example of a modern German composer, who by this time was writing music based in tonality, and with frequent references to folk music ; the conductor Wilhelm Furtwängler's defense of Hindemith, published in 1934, takes precisely this line.

An anonymous critic writing in Opera magazine in 1954, having attended a performance of Hindemith's Neues vom Tage, noted that " Mr Hindemith is no virtuoso conductor, but he does possess an extraordinary knack of making performers understand how his own music is supposed to go ".

Hindemith turned some of the music from this opera into a purely instrumental symphony ( also called Mathis der Maler ), which is one of his most frequently performed works.

Hindemith even rewrote some of his music after developing this system.

In the final chapter of Book I, Hindemith seeks to illustrate the wide-ranging relevance and applicability and of his system in analysis of music examples ranging from the early origins of European music to the contemporary.

One traditional aspect of classical music that Hindemith retains is the idea of dissonance resolving to consonance.

Hindemith conducted some of his own music in a series of recordings for EMI with the Philharmonia Orchestra and for Deutsche Grammophon with the Berlin Philharmonic Orchestra, which have been digitally remastered and released on CD.

Milhaud ( like his contemporaries Paul Hindemith, Gian Francesco Malipiero, Alan Hovhaness, Bohuslav Martinů and Heitor Villa-Lobos ) was an extremely rapid creator, for whom the art of writing music seemed almost as natural as breathing.

( originally with music by Paul Dessau, Kurt Weill and Paul Hindemith ), cinematography

Tippett assimilated many influences, from 16th century church music and madrigals, Purcell, Bach, Handel, Beethoven, Stravinsky, Sibelius, Hindemith and Bartók to folk music, blues, jazz-rock and Balinese gamelan music, eventually finding his own highly personal and expressive style.

Paul Hindemith used the same instrumentation as Schubert for his own Octet.

Many modernists came to this viewpoint, for example Paul Hindemith in his late turn towards mysticism.

In 1935, Hindemith was commissioned by the Turkish government to reorganize that country's musical education, and, more specifically, was given the task of preparing material for the " Universal and Turkish Polyphonic Music Education Programme " for all music-related institutions in Turkey, a feat which he accomplished to universal acclaim.

( Hindemith himself said he believed he was being an ambassador for German culture.

Kammermusik No. 6, for example, is a concerto for the viola d ' amore, an instrument that has not been in wide use since the baroque period, but which Hindemith himself played.

Around the 1930s, Hindemith began to write less for chamber groups, and more for large orchestral forces.

Hindemith recorded it in stereo with members of the Philharmonia Orchestra for EMI in 1956.

The Violin Concerto was also recorded by Hindemith for Decca / London, with the composer conducting the London Symphony Orchestra with David Oistrakh as soloist.

Everest Records issued a recording of Hindemith's postwar When Lilacs Last in the Dooryard Bloom'd (" A Requiem for Those We Love ") on LP, conducted by Hindemith.

A stereo recording of Hindemith conducting the requiem with the New York Philharmonic Orchestra, with Louise Parker and George London as soloists, was made for Columbia Records in 1963 and later issued on CD.