This is a list of the works of the German composer Paul Hindemith (1895–1963).

Paul Hindemith ( POWL HIN-də-mit; German: [ˌpaʊ̯l ˈhɪndəmɪt] ; 16 November 1895 – 28 December 1963) was a German and American composer, music theorist, teacher, violist and conductor. He founded the Amar Quartet in 1921, touring extensively in Europe. As a composer, he became a major advocate of the Neue Sachlichkeit (New Objectivity) style of music in the 1920s, with compositions such as Kammermusik, including works with viola and viola d'amore as solo instruments in a neo-Bachian spirit. Other notable compositions include his song cycle Das Marienleben (1923), his oratorio Das Unaufhörliche (1931), Der Schwanendreher for viola and orchestra (1935), the opera Mathis der Maler (1938) and the symphony Mathis der Maler (1934), the Symphonic Metamorphosis of Themes by Carl Maria von Weber (1943), and the oratorio When Lilacs Last in the Dooryard Bloom'd (1946), a requiem based on Walt Whitman's poem. Hindemith and his wife emigrated to Switzerland and the United States ahead of World War II, after worsening difficulties with the Nazi German regime. In his later years, he conducted and recorded much of his own music. Most of Hindemith's compositions are anchored by a foundational tone, and use musical forms and counterpoint and cadences typical of the Baroque and Classical traditions. His harmonic language is more modern, freely using all 12 notes of the chromatic scale within his tonal framework, as detailed in his three-volume treatise, The Craft of Musical Composition.

This is a list of the works of the German composer Paul Hindemith (1895–1963).

This is a list of the works of the German composer Paul Hindemith (1895–1963).

This is a list of the works of the German composer Paul Hindemith (1895–1963).

This is a list of the works of the German composer Paul Hindemith (1895–1963).

This is a list of the works of the German composer Paul Hindemith (1895–1963).

This is a list of the works of the German composer Paul Hindemith (1895–1963).

A cello sonata is a piece written in sonata form, often with the instrumentation of a cello taking solo role with piano accompaniment. Some of the earliest cello sonatas were composed in the 18th century by Francesco Geminiani and Antonio Vivaldi; subsequent famous cello sonatas include those by Johannes Brahms, Ludwig van Beethoven, Felix Mendelssohn, Fryderyk Chopin, and Richard Strauss. The following list contains cello sonatas with or without accompanying instruments. See the See also list for more comprehensive lists divided up into solo and accompanied works.

A cello sonata is a piece written in sonata form, often with the instrumentation of a cello taking solo role with piano accompaniment. Some of the earliest cello sonatas were composed in the 18th century by Francesco Geminiani and Antonio Vivaldi; subsequent famous cello sonatas include those by Johannes Brahms, Ludwig van Beethoven, Felix Mendelssohn, Fryderyk Chopin, and Richard Strauss. The following list contains cello sonatas with or without accompanying instruments. See the See also list for more comprehensive lists divided up into solo and accompanied works.

A cello sonata is a piece written in sonata form, often with the instrumentation of a cello taking solo role with piano accompaniment. Some of the earliest cello sonatas were composed in the 18th century by Francesco Geminiani and Antonio Vivaldi; subsequent famous cello sonatas include those by Johannes Brahms, Ludwig van Beethoven, Felix Mendelssohn, Fryderyk Chopin, and Richard Strauss. The following list contains cello sonatas with or without accompanying instruments. See the See also list for more comprehensive lists divided up into solo and accompanied works.

A clarinet sonata is piece of music in sonata form for clarinet, often with piano accompaniment. The Two Clarinet Sonatas by Brahms are of special significance in the development of the clarinet repertoire. Several important transcriptions are also possible, including sonatas by Mozart, Schubert, Reinecke, Copland, and Prokofiev.

The Duet for Viola and Cello, initially and alternatively entitled Scherzo, is a short duet by German composer Paul Hindemith. It was written and first recorded in 1934, and its origins are closely connected to the composer's Sonata for Solo Viola No. 2.

This is a list of the works of the German composer Paul Hindemith (1895–1963).

The recorder is a family of woodwind musical instruments and a member of the family of duct flutes that includes tin whistles and flageolets. It is the most prominent duct flute in the western classical tradition. A recorder can be distinguished from other duct flutes by the presence of a thumb-hole for the upper hand and holes for seven fingers: three for the upper hand and four for the lower. Recorders are made in various sizes and ranges. The sizes most commonly in use today are the soprano (also known as descant, lowest note C5), alto (also known as treble, lowest note F4), tenor (lowest note C4), and bass (lowest note F3). Recorders were traditionally constructed from wood or ivory. Modern professional instruments are wooden, often boxwood; student and scholastic recorders are commonly made of moulded plastic. The recorders' internal and external proportions vary, but the bore is generally reverse conical (i.e. tapering towards the foot) to cylindrical, and all recorder fingering systems make extensive use of forked fingerings. The recorder is first documented in Europe in the Middle Ages, and continued to enjoy wide popularity in the Renaissance and Baroque periods, but was little used in the Classical and Romantic periods. It was revived in the twentieth century as part of the historically informed performance movement, and became a popular amateur and educational instrument. Composers who have written for the recorder include Monteverdi, Lully, Purcell, Handel, Vivaldi, Telemann, Bach, Hindemith, and Berio. There are many professional recorder players who demonstrate the full solo range of the instrument, and a large community of amateurs. The sound of the recorder is often described as clear and sweet, and has historically been associated with birds and shepherds. It is notable for its quick response and its corresponding ability to produce a wide variety of articulations. This ability, coupled with its open finger holes, allow it to produce a wide variety of tone colours and special effects. Acoustically, its tone is relatively pure and, when the edge is positioned in the center of the airjet, odd harmonics predominate in its sound (when the edge is decidedly off-center, an even distribution of harmonics occurs).

This is a list of the works of the German composer Paul Hindemith (1895–1963).

Paul Hindemith ( POWL HIN-də-mit; German: [ˌpaʊ̯l ˈhɪndəmɪt] ; 16 November 1895 – 28 December 1963) was a German and American composer, music theorist, teacher, violist and conductor. He founded the Amar Quartet in 1921, touring extensively in Europe. As a composer, he became a major advocate of the Neue Sachlichkeit (New Objectivity) style of music in the 1920s, with compositions such as Kammermusik, including works with viola and viola d'amore as solo instruments in a neo-Bachian spirit. Other notable compositions include his song cycle Das Marienleben (1923), his oratorio Das Unaufhörliche (1931), Der Schwanendreher for viola and orchestra (1935), the opera Mathis der Maler (1938) and the symphony Mathis der Maler (1934), the Symphonic Metamorphosis of Themes by Carl Maria von Weber (1943), and the oratorio When Lilacs Last in the Dooryard Bloom'd (1946), a requiem based on Walt Whitman's poem. Hindemith and his wife emigrated to Switzerland and the United States ahead of World War II, after worsening difficulties with the Nazi German regime. In his later years, he conducted and recorded much of his own music. Most of Hindemith's compositions are anchored by a foundational tone, and use musical forms and counterpoint and cadences typical of the Baroque and Classical traditions. His harmonic language is more modern, freely using all 12 notes of the chromatic scale within his tonal framework, as detailed in his three-volume treatise, The Craft of Musical Composition.

This is a list of the works of the German composer Paul Hindemith (1895–1963).

This is a list of the works of the German composer Paul Hindemith (1895–1963).

Kammermusik (Chamber Music) is a group of eight chamber music compositions by Paul Hindemith. He wrote them, each in several movements, during the 1920s. They are grouped in three opus numbers: Op. 24, Op. 36 and Op. 46. Six of these works, Kammermusik Nos. 2–7, are not what is normally considered chamber music – music for a few players with equally important parts such as a wind quintet – but rather concertos for a soloist and chamber orchestra. They are concertos for piano, cello, violin, viola, viola d'amore and organ. The works, for different ensembles, were premiered at different locations and times. The composer was the soloist in the premiere of the viola concertos, while his brother Rudolf Hindemith was the soloist in the premiere of the cello concerto. Kammermusik is reminiscent of Bach's Brandenburg Concertos, also concertos for different solo and orchestra instruments, and in a neo-Bachian spirit of structure, polyphony and stability of motion.

Kammermusik (Chamber Music) is a group of eight chamber music compositions by Paul Hindemith. He wrote them, each in several movements, during the 1920s. They are grouped in three opus numbers: Op. 24, Op. 36 and Op. 46. Six of these works, Kammermusik Nos. 2–7, are not what is normally considered chamber music – music for a few players with equally important parts such as a wind quintet – but rather concertos for a soloist and chamber orchestra. They are concertos for piano, cello, violin, viola, viola d'amore and organ. The works, for different ensembles, were premiered at different locations and times. The composer was the soloist in the premiere of the viola concertos, while his brother Rudolf Hindemith was the soloist in the premiere of the cello concerto. Kammermusik is reminiscent of Bach's Brandenburg Concertos, also concertos for different solo and orchestra instruments, and in a neo-Bachian spirit of structure, polyphony and stability of motion.

Kammermusik (Chamber Music) is a group of eight chamber music compositions by Paul Hindemith. He wrote them, each in several movements, during the 1920s. They are grouped in three opus numbers: Op. 24, Op. 36 and Op. 46. Six of these works, Kammermusik Nos. 2–7, are not what is normally considered chamber music – music for a few players with equally important parts such as a wind quintet – but rather concertos for a soloist and chamber orchestra. They are concertos for piano, cello, violin, viola, viola d'amore and organ. The works, for different ensembles, were premiered at different locations and times. The composer was the soloist in the premiere of the viola concertos, while his brother Rudolf Hindemith was the soloist in the premiere of the cello concerto. Kammermusik is reminiscent of Bach's Brandenburg Concertos, also concertos for different solo and orchestra instruments, and in a neo-Bachian spirit of structure, polyphony and stability of motion.

Kammermusik (Chamber Music) is a group of eight chamber music compositions by Paul Hindemith. He wrote them, each in several movements, during the 1920s. They are grouped in three opus numbers: Op. 24, Op. 36 and Op. 46. Six of these works, Kammermusik Nos. 2–7, are not what is normally considered chamber music – music for a few players with equally important parts such as a wind quintet – but rather concertos for a soloist and chamber orchestra. They are concertos for piano, cello, violin, viola, viola d'amore and organ. The works, for different ensembles, were premiered at different locations and times. The composer was the soloist in the premiere of the viola concertos, while his brother Rudolf Hindemith was the soloist in the premiere of the cello concerto. Kammermusik is reminiscent of Bach's Brandenburg Concertos, also concertos for different solo and orchestra instruments, and in a neo-Bachian spirit of structure, polyphony and stability of motion.

This is a list of the works of the German composer Paul Hindemith (1895–1963).

This is a list of the works of the German composer Paul Hindemith (1895–1963).

A concert piece (German: Konzertstück; French: pièce de concert, also morceau de concert) is a musical composition, in most cases in one movement, intended for performance in a concert. Usually it is written for one or more virtuoso instrumental soloists and orchestral or piano accompaniment. In some cases concert pieces start with a separate opening movement, or are otherwise in more than one movement or section. A piece that presents itself as a miniature concerto is rather called concertino than concert piece, although in German several such concertinos are known as Konzertstücke. For instance Siegfried Wagner's Flute Concertino was published as Konzertstück for flute and small orchestra. Incomplete concerto movements by Beethoven and Schubert were retroactively designated as concert pieces. Schumann's 1841 Fantasia for piano and orchestra, in form similar to Weber's Konzertstück, was later rewritten and expanded with two further movements into his Piano Concerto Op. 54. When the soloist is a vocalist, the piece rather belongs to the concert aria genre. Some concert pieces are written for instrumental soloists exclusively, while also concert pieces for orchestra without soloist exist. In this sense as well Chopin's Allegro de concert for solo piano as Tchaikovsky's Romeo and Juliet for orchestra can be called concert pieces. A concert overture is an overture which is conceived as a stand-alone concert piece.

A violin concerto is a concerto for solo violin (occasionally, two or more violins) and instrumental ensemble (customarily orchestra). Such works have been written since the Baroque period, when the solo concerto form was first developed, up through the present day. Many major composers have contributed to the violin concerto repertoire. Traditionally a three-movement work, the violin concerto has been structured in four movements by a number of modern composers, including Dmitri Shostakovich, Igor Stravinsky, and Alban Berg. In some violin concertos, especially from the Baroque and modern eras, the violin (or group of violins) is accompanied by a chamber ensemble rather than an orchestra—for instance, in Vivaldi's L'estro armonico, originally scored for four violins, two violas, cello, and continuo, and in Allan Pettersson's first concerto, for violin and string quartet.

This is a list of the works of the German composer Paul Hindemith (1895–1963).

This is a list of the works of the German composer Paul Hindemith (1895–1963).

The double bass, also known as the upright bass, the acoustic bass, the bull fiddle, the Bass Fiddle, the string bass, or simply the bass, is the largest and lowest-pitched chordophone in the modern symphony orchestra (excluding rare additions such as the octobass). It has four or five strings, and its construction is in between that of the gamba (viol) and the violin family. The bass is a standard member of the orchestra's string section, along with violins, violas, and cellos, as well as the concert band, and is featured in concertos, solo, and chamber music in Western classical music. The bass is used in a range of other genres, such as jazz, blues, rock and roll, rockabilly, country music, bluegrass, tango, folk music and certain types of film and video game soundtracks. The instrument's exact lineage is still a matter of some debate, with scholars divided on whether the bass is derived from the viol or the violin family. Being a transposing instrument, the bass is typically notated one octave higher than tuned to avoid excessive ledger lines below the staff. The double bass is the only modern bowed string instrument that is tuned in fourths (like a bass guitar, viol, or the lowest-sounding four strings of a standard guitar), rather than fifths, with strings usually tuned to E1, A1, D2 and G2. The double bass is played with a bow (arco), or by plucking the strings (pizzicato), or by slapping the strings for certain rock and roll and rockabilly styles, or via a variety of extended techniques. In orchestral repertoire and tango music, both arco and pizzicato are employed. In jazz, blues, and rockabilly, pizzicato is the norm. Classical music and jazz use the natural sound produced acoustically by the instrument, as does traditional bluegrass. In funk, blues, reggae, and related genres, the double bass is often amplified.

A piano quartet is a chamber music composition for piano and three other instruments, or a musical ensemble comprising such instruments. Those other instruments are usually a string trio consisting of a violin, viola and cello. Piano quartets for that standard lineup were written by Wolfgang Amadeus Mozart, Robert Schumann, Ludwig van Beethoven, Johannes Brahms, Antonín Dvořák and Gabriel Fauré among others. In the 20th century, composers have also written for more varied groups, with Anton Webern's Quartet, opus 22 (1930), for example, being for piano, violin, clarinet and tenor saxophone, and Paul Hindemith's quartet (1938) as well as Olivier Messiaen's Quatuor pour la fin du temps (1940) both for piano, violin, cello and clarinet. An early example of this can be found in Franz Berwald's quartet for piano, horn, clarinet and bassoon from 1819, his opus 1. A rare form of piano quartets consist of two pianos with two players at each piano. This type of ensemble is informally referred to as "eight-hand piano", or "two piano eight hands". Eight-hand piano was popular in the late 19th century before the advent of recordings as it was a mechanism to reproduce and study symphonic works. Music lovers could hear the major symphonic works all in the convenience of a parlour or music hall that had two pianos and four pianists. Many of the popular works of Mozart, Schumann, Brahms and Dvořák were transcribed for two piano eight hands. The majority of 8 hand piano music consists of transcriptions, or arrangements.

Kammermusik (Chamber Music) is a group of eight chamber music compositions by Paul Hindemith. He wrote them, each in several movements, during the 1920s. They are grouped in three opus numbers: Op. 24, Op. 36 and Op. 46. Six of these works, Kammermusik Nos. 2–7, are not what is normally considered chamber music – music for a few players with equally important parts such as a wind quintet – but rather concertos for a soloist and chamber orchestra. They are concertos for piano, cello, violin, viola, viola d'amore and organ. The works, for different ensembles, were premiered at different locations and times. The composer was the soloist in the premiere of the viola concertos, while his brother Rudolf Hindemith was the soloist in the premiere of the cello concerto. Kammermusik is reminiscent of Bach's Brandenburg Concertos, also concertos for different solo and orchestra instruments, and in a neo-Bachian spirit of structure, polyphony and stability of motion.

This is a list of the works of the German composer Paul Hindemith (1895–1963).

This is a list of the works of the German composer Paul Hindemith (1895–1963).

The Sonata for Solo Viola No. 2, Op. 25/1, is the second of German composer Paul Hindemith's four sonatas for unaccompanied viola. Completed in 1922, it is part of an opus that also includes three other sonatas for different instruments.

The Hollywood String Quartet (HSQ) was an American string quartet founded by violinist/conductor Felix Slatkin and his wife cellist Eleanor Aller. The Hollywood String Quartet is considered to be the first American-born and trained classical music chamber group to make an international impact, mainly through its landmark recordings. These recordings have long been regarded as among the most outstanding recorded performances of the string quartet repertoire.

The Hollywood String Quartet (HSQ) was an American string quartet founded by violinist/conductor Felix Slatkin and his wife cellist Eleanor Aller. The Hollywood String Quartet is considered to be the first American-born and trained classical music chamber group to make an international impact, mainly through its landmark recordings. These recordings have long been regarded as among the most outstanding recorded performances of the string quartet repertoire.

The Hollywood String Quartet (HSQ) was an American string quartet founded by violinist/conductor Felix Slatkin and his wife cellist Eleanor Aller. The Hollywood String Quartet is considered to be the first American-born and trained classical music chamber group to make an international impact, mainly through its landmark recordings. These recordings have long been regarded as among the most outstanding recorded performances of the string quartet repertoire.

The String Quartet No. 4, Op. 22 by Paul Hindemith was written in 1921 and published in 1923. A performance of the work takes about 26 minutes.

This is a list of the works of the German composer Paul Hindemith (1895–1963).

This is a list of the works of the German composer Paul Hindemith (1895–1963).

This is a list of the works of the German composer Paul Hindemith (1895–1963).

A string trio is a group of three string instruments or a piece written for such a group. From at least the 19th century on, the term "string trio" with otherwise unspecified instrumentation normally refers to the combination violin, viola and cello. The classical string trio emerged during the mid-18th century and later expanded into four subgenres: the grand trio, the concertant trio, the brilliant trio, and the Hausmusik trio.

String Trio No. 2 (German: 2. Trio für Geige, Bratsche und Violoncello) is the last string trio by German composer Paul Hindemith. It was composed in 1933 and recorded by the composer shortly after.

This is a list of notable events in music that took place in the year 1948.

The heckelphone (German: Heckelphon) is a musical instrument invented by Wilhelm Heckel and his sons. The idea of inventing the instrument was initiated by Richard Wagner, who suggested its concept at the occasion of a visit of Wilhelm Heckel in 1879. Introduced in 1904, the heckelphone resembles an oboe but is pitched an octave lower, similar to the bass oboe. In addition to the pitch difference, the heckelphone has a larger bore.

Paul Hindemith ( POWL HIN-də-mit; German: [ˌpaʊ̯l ˈhɪndəmɪt] ; 16 November 1895 – 28 December 1963) was a German and American composer, music theorist, teacher, violist and conductor. He founded the Amar Quartet in 1921, touring extensively in Europe. As a composer, he became a major advocate of the Neue Sachlichkeit (New Objectivity) style of music in the 1920s, with compositions such as Kammermusik, including works with viola and viola d'amore as solo instruments in a neo-Bachian spirit. Other notable compositions include his song cycle Das Marienleben (1923), his oratorio Das Unaufhörliche (1931), Der Schwanendreher for viola and orchestra (1935), the opera Mathis der Maler (1938) and the symphony Mathis der Maler (1934), the Symphonic Metamorphosis of Themes by Carl Maria von Weber (1943), and the oratorio When Lilacs Last in the Dooryard Bloom'd (1946), a requiem based on Walt Whitman's poem. Hindemith and his wife emigrated to Switzerland and the United States ahead of World War II, after worsening difficulties with the Nazi German regime. In his later years, he conducted and recorded much of his own music. Most of Hindemith's compositions are anchored by a foundational tone, and use musical forms and counterpoint and cadences typical of the Baroque and Classical traditions. His harmonic language is more modern, freely using all 12 notes of the chromatic scale within his tonal framework, as detailed in his three-volume treatise, The Craft of Musical Composition.

This is a list of the works of the German composer Paul Hindemith (1895–1963).

This is a list of the works of the German composer Paul Hindemith (1895–1963).

This is a list of the works of the German composer Paul Hindemith (1895–1963).

The viola sonata is a sonata for viola, sometimes with other instruments, usually piano. The earliest viola sonatas are difficult to date for a number of reasons: in the Baroque era, there were many works written for the viola da gamba, including sonatas (the most famous being Johann Sebastian Bach's Three Sonatas for Viola da Gamba and Harpsichord, now most often played on the cello) in the Classical era and early Romantic, there were few works written with viola specifically in mind as solo instrument, and many of these, like those of the Stamitz family, may have been written for the viola d'amore, like most of their viola works—though it is now customary to play them on the viola; it was more typical to publish a work or set, like George Onslow's opus 16 cello sonatas, or Johannes Brahms's Two Clarinet Sonatas in the late 19th century, that specified the viola as an alternate. Two early exceptions were the viola sonata of Felix Mendelssohn (1824, posthumously published in 1966) and the opus 1 sonata of the composer Ernst Naumann (1832–1910), published in 1854. The viola returned to a solo role in the 20th century. Max Reger wrote three sonatas for either clarinet or viola at the beginning of the century. Paul Hindemith, himself a viola virtuoso, composed works several sonatas for viola solo, and others for viola and piano such as the Sonata for Viola and Piano, Op. 11 No. 4 in 1919. Rebecca Clarke composed the Sonata for viola and piano the same year. Bax's Viola Sonata, written (like Walton's concerto) for the great English viola player Lionel Tertis in 1923, is one of his most-played and oft-recorded chamber works. Mieczysław Weinberg wrote four viola sonatas between 1971 and 1983. The Sonata for Viola and Piano, Op. 147, is the last composition by Dmitri Shostakovich, completed in July 1975 and dedicated to Fyodor Druzhinin. György Ligeti wrote his Sonata for Solo Viola between 1991 and 1994. In the 21st century, Graham Waterhouse wrote a viola sonata entitled Sonata ebraica , completed in 2013.

The first Sonata for viola and piano (German: Sonate für Bratsche und Klavier), also known as Sonata in F, Op. 11, No. 4, by Paul Hindemith was composed in 1919. It is the fourth of five instrumental sonatas comprising his opus 11. This sonata and the following Op. 11 No. 5 for solo viola mark Hindemith's decision to abandon playing the violin in favor of its larger cousin. A typical performance lasts between 15 and 18 minutes.

The first Sonata for viola and piano (German: Sonate für Bratsche und Klavier), also known as Sonata in F, Op. 11, No. 4, by Paul Hindemith was composed in 1919. It is the fourth of five instrumental sonatas comprising his opus 11. This sonata and the following Op. 11 No. 5 for solo viola mark Hindemith's decision to abandon playing the violin in favor of its larger cousin. A typical performance lasts between 15 and 18 minutes.

The first Sonata for viola and piano (German: Sonate für Bratsche und Klavier), also known as Sonata in F, Op. 11, No. 4, by Paul Hindemith was composed in 1919. It is the fourth of five instrumental sonatas comprising his opus 11. This sonata and the following Op. 11 No. 5 for solo viola mark Hindemith's decision to abandon playing the violin in favor of its larger cousin. A typical performance lasts between 15 and 18 minutes.

The viola sonata is a sonata for viola, sometimes with other instruments, usually piano. The earliest viola sonatas are difficult to date for a number of reasons: in the Baroque era, there were many works written for the viola da gamba, including sonatas (the most famous being Johann Sebastian Bach's Three Sonatas for Viola da Gamba and Harpsichord, now most often played on the cello) in the Classical era and early Romantic, there were few works written with viola specifically in mind as solo instrument, and many of these, like those of the Stamitz family, may have been written for the viola d'amore, like most of their viola works—though it is now customary to play them on the viola; it was more typical to publish a work or set, like George Onslow's opus 16 cello sonatas, or Johannes Brahms's Two Clarinet Sonatas in the late 19th century, that specified the viola as an alternate. Two early exceptions were the viola sonata of Felix Mendelssohn (1824, posthumously published in 1966) and the opus 1 sonata of the composer Ernst Naumann (1832–1910), published in 1854. The viola returned to a solo role in the 20th century. Max Reger wrote three sonatas for either clarinet or viola at the beginning of the century. Paul Hindemith, himself a viola virtuoso, composed works several sonatas for viola solo, and others for viola and piano such as the Sonata for Viola and Piano, Op. 11 No. 4 in 1919. Rebecca Clarke composed the Sonata for viola and piano the same year. Bax's Viola Sonata, written (like Walton's concerto) for the great English viola player Lionel Tertis in 1923, is one of his most-played and oft-recorded chamber works. Mieczysław Weinberg wrote four viola sonatas between 1971 and 1983. The Sonata for Viola and Piano, Op. 147, is the last composition by Dmitri Shostakovich, completed in July 1975 and dedicated to Fyodor Druzhinin. György Ligeti wrote his Sonata for Solo Viola between 1991 and 1994. In the 21st century, Graham Waterhouse wrote a viola sonata entitled Sonata ebraica , completed in 2013.

This is a list of the works of the German composer Paul Hindemith (1895–1963).

This is a list of the works of the German composer Paul Hindemith (1895–1963).

The Violin Sonata No. 2 for piano and violin, in D major, Op. 11, No. 2, is the second surviving violin sonata for the two instruments by Paul Hindemith, composed in 1918. It was published as Sonate in D für Klavier und Violine.

Kammermusik (Chamber Music) is a group of eight chamber music compositions by Paul Hindemith. He wrote them, each in several movements, during the 1920s. They are grouped in three opus numbers: Op. 24, Op. 36 and Op. 46. Six of these works, Kammermusik Nos. 2–7, are not what is normally considered chamber music – music for a few players with equally important parts such as a wind quintet – but rather concertos for a soloist and chamber orchestra. They are concertos for piano, cello, violin, viola, viola d'amore and organ. The works, for different ensembles, were premiered at different locations and times. The composer was the soloist in the premiere of the viola concertos, while his brother Rudolf Hindemith was the soloist in the premiere of the cello concerto. Kammermusik is reminiscent of Bach's Brandenburg Concertos, also concertos for different solo and orchestra instruments, and in a neo-Bachian spirit of structure, polyphony and stability of motion.

The following is an incomplete list of musical pieces that belong to the category, Sonata.

Kammermusik (Chamber Music) is a group of eight chamber music compositions by Paul Hindemith. He wrote them, each in several movements, during the 1920s. They are grouped in three opus numbers: Op. 24, Op. 36 and Op. 46. Six of these works, Kammermusik Nos. 2–7, are not what is normally considered chamber music – music for a few players with equally important parts such as a wind quintet – but rather concertos for a soloist and chamber orchestra. They are concertos for piano, cello, violin, viola, viola d'amore and organ. The works, for different ensembles, were premiered at different locations and times. The composer was the soloist in the premiere of the viola concertos, while his brother Rudolf Hindemith was the soloist in the premiere of the cello concerto. Kammermusik is reminiscent of Bach's Brandenburg Concertos, also concertos for different solo and orchestra instruments, and in a neo-Bachian spirit of structure, polyphony and stability of motion.