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Kammermusik No. 7 for organ and 15 instruments, Op. 46/2 (1927) Klaviermusik mit Orchester for left-hand piano and orchestra, Op. 29 (1923) Konzertmusik for viola and large chamber orchestra, Op. 48 (1930)
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. [1] [2] They are concertos for piano, cello, violin, viola, viola d'amore and organ. The works, for different ...
Paul Hindemith (/ ˈ p aʊ l ˈ h ɪ n d ə m ɪ t / 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.
The sonata was published by Schott in Mainz in 1920. The 24-page manuscript score from Alfred Wolf's estate is kept at the Hindemith Institute [ de ] in Frankfurt. The work has been included in the Hindemith Complete Edition, edited by Peter Cahn, in 1976, in volume V, 6 (String Chamber Music III).
Sonata for Two Pianists 1 and 2 (1989) Pierre Boulez (1925–2016) Structures I and II (1952, 1961) Johannes Brahms (1833–1897) Sonata in F minor, Op. 34b (1863) Waltzes, Op. 39 (1865) Variations on a Theme by Haydn, Op. 56b (1873) Mia Brentano; Mia Brentano's Hidden Sea: 20 Songs for 2 Pianos (2018) Benjamin Britten (1913–1976)
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.
Hindemith and his wife would play Weber's music for piano four-hands, and Hindemith used some of these little-known pieces—Op. 60/4 (no. 253 in the Jähns catalog of Weber's works) (first movement), Op. 37 (J. 75) (second movement), Op. 10/2 (J. 82) (third movement), and Op. 60/7 (J. 265) (fourth movement) for the themes of the other movements.
List of pieces using polytonality and/or bitonality.. Samuel Barber. Symphony No. 2 (1944) [citation needed]; Béla Bartók. Mikrokosmos Volume 5 number 125: The opening (mm. 1-76) of "Boating", (actually bimodality) in which the right hand uses pitches of E ♭ dorian and the left hand uses those of either G mixolydian or dorian [1]
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