Paul Hindemith

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

Biography
Born in Hanau, Germany, Hindemith was taught the violin as a child. He entered the Hochsche Konservatorium in Frankfurt am Main where he studied conducting, composition and violin under Arnold Mendelssohn and Bernhard Sekles, supporting himself by playing in dance bands and musical-comedy outfits. He led the Frankfurt Opera orchestra from 1915 to 1923 and played in the Rebner string quartet in 1921 in which he played second violin, and later the viola. In 1929 he founded the Amar Quartet, playing viola, and extensively toured Europe.

In 1922, some of his pieces were heard in the International Society for Contemporary Music festival at Salzburg, which first brought him to the attention of an international audience. The following year, he began to work as an organizer of the Donaueschingen Festival, where he programmed works by several avant garde composers, including Anton Webern and Arnold Schoenberg. From 1927 he taught composition at the Berliner Hochschule für Musik in Berlin. In the 1930s he made a visit to Cairo and several visits to Ankara where (at the invitation of Atatürk) he led the task of reorganizing Turkish music education and the early efforts for the establishment of Turkish State Opera and Ballet. Towards the end of the 1930s, he made several tours of America as a viola and viola d'amore soloist.

Hindemith's relationship to the Nazis is a complicated one: some condemned his music as "degenerate" (largely on the basis of his early, sexually charged operas such as Sancta Susanna), and on December 6 1934, during a speech at the Berlin Sports Palace, Germany’s Minister of Propaganda, Joseph Goebbels publicly denounced Hindemith as an “atonal noisemaker.” Others, though, thought that he may 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 defence of Hindemith, published in 1934, takes precisely this line. The controversy around his work continued throughout the thirties, with the composer falling in and out of favour with the Nazi hierarchy; he did not finally emigrate (to Switzerland) until 1938 (despite his wife being Jewish), and in the meantime had sworn an oath to Hitler, had accepted a commission to write music for a Luftwaffe event (although it never materialised), conducted for official Nazi concerts, and accepted a position on the Reich Music Chamber. This part of Hindemith's life has until recently been glossed over by historians of the composer (such as Skelton or Kemp), who have mostly tried to assert his anti-Nazi beliefs, and have ignored some of the more uncomfortable facts (documented by Levi and Kater).

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. This development seems to have been supported by the Nazi regime: it may have got him conveniently out of the way, yet at the same time he propagated a German view of musical history and education. (Hindemith himself said he believed he was being an ambassador for German culture.) Hindemith did not stay in Turkey as long as many other émigrés. Nevertheless, he greatly influenced the developments of Turkish musical life; the Ankara State Conservatory owes much to his efforts. In fact, Hindemith was regarded to be a “real master” by young Turkish musicians and he was appreciated and greatly respected.

In 1940 Hindemith emigrated to the United States. At the same time that he was codifying his musical language, his teaching and compositions began to be affected by his theories, according to critics like Ernest Ansermet (1961, note to p. 42 added on an errata slip). Once in the States he taught primarily at Yale University where he had such notable pupils as Lukas Foss, Norman Dello Joio, Mel Powell, Harold Shapero, Hans Otte, Ruth Schonthal, and Oscar-winning film director George Roy Hill. During this time he also gave the Charles Eliot Norton Lectures at Harvard, from which the book A Composer's World was extracted (Hindemith 1952). He became an American citizen in 1946, but returned to Europe in 1953, living in Zürich and teaching at the university there. Towards the end of his life he began to conduct more, and made numerous recordings, mostly of his own music. He was awarded the Balzan Prize in 1962.

Hindemith died in Frankfurt am Main from acute pancreatitis.

Hindemith's music
Hindemith is among the most significant German composers of his time. His early works are in a late romantic idiom, and he later produced expressionist works, rather in the style of early Arnold Schoenberg, before developing a leaner, contrapuntally complex style in the 1920s. It has been described as neoclassical,[citation needed] but is very different from the works by Igor Stravinsky labeled with that term, owing more to the contrapuntal language of Bach than the Classical clarity of Mozart.

This new style can be heard in the series of works he wrote called Kammermusik (Chamber Music) from 1922 to 1927. Each of these pieces is written for a different small instrumental ensemble, many of them very unusual. Kammermusik No. 6, for example, is a concerto for the viola d'amore, an instrument which had not been in wide use since the baroque period, but which Hindemith himself played. He continued to write for unusual groups throughout his life, producing a sonata for double bass in 1949, for example.

Around the 1930s, Hindemith began to write less for chamber groups, and more for large orchestral forces. In 1933-35, Hindemith wrote his opera Mathis der Maler, based on the life of the painter Matthias Grünewald. It is respected in musical circles, but like most twentieth-century operas it is rarely staged, though a well-known production by the New York City Opera in 1995 was an exception.[1] It combines the neo-classicism of earlier works with folk song. 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, like Kurt Weill and Ernst Krenek, wrote Gebrauchsmusik (Utility Music), music intended to have a social or political purpose and often intended to be played by amateurs. The concept was inspired by Bertolt Brecht. An example of this is his Trauermusik (Funeral Music), written in 1936. Hindemith was preparing a concert for the BBC when he heard news of the death of George V. He quickly wrote this piece for solo viola and string orchestra to mark the event, and the premiere was given on the same day. Hindemith later disowned the term Gebrauchsmusik, saying it was misleading.[citation needed]

In the late 1930s, Hindemith wrote a theoretical book The Craft of Musical Composition (Hindemith 1937–70), in which, amongst many other things, he ranks all musical intervals from the most consonant to the most dissonant. It laid out Hindemith's compositional technique he had been using throughout the 1930s and would continue to use for the rest of his life. This work added to his reputation as a composer of music that is theoretically interesting, but lacking in emotional interest.[citation needed] His piano work of the early 1940s, Ludus Tonalis is seen by many as a further example of this.[citation needed] It contains twelve fugues, in the manner of Johann Sebastian Bach, each connected by an interlude during which the music moves from the key of the last fugue to the key of the next one. Much of Hindemith's music begins in consonant territory, moves into dissonance, and returns at the end to full, consonant chords. This is especially apparent in his "Concert Music for Strings and Brass."

Hindemith's most popular work, both on record and in the concert hall, is probably the Symphonic Metamorphoses of Themes by Carl Maria von Weber, written in 1943. It takes melodies from various works by Weber, mainly piano duets, but also one from the overture to his incidental music for Turandot (Op. 37/J. 75), and transforms and adapts them so that each movement of the piece is based on one theme.

In 1951, Hindemith completed his Symphony in B-flat. Scored for concert band, it was written for the U.S. Army Band "Pershing's Own". Hindemith premiered it with that band on April 5th of that year [2]. Its second performance took place under the baton of Hugh McMillan, conducting the Boulder Symphonic Band at the University of Colorado. The piece is representative of his late works, exhibiting strong contrapuntal lines throughout, and is a cornerstone of the band repertoire.

Compositions

Stage Works
Operas
Der Vetter auf Besuch (1912/13). Singspiel by Wilhelm Busch. (Fragment). Lost.
Mörder, Hoffnung der Frauen op. 12 (1919). Play in One Act. Text: Oskar Kokoschka. Complete Edition I, 1.
Das Nusch-Nuschi op. 20 (1920). Opera in 3 Scenes. Text: Franz Blei.
Sancta Susanna op. 21 (1921). Opera in One Act. Text: August Stramm. C.Ed. I, 3.
Cardillac op. 39 (1925-1926). Opera in 3 Acts. Text: Ferdinand Lion. C.Ed. I, 4.
Cardillac, New Version (1952). Opera in 4 Acts. Text: Paul Hindemith after Ferdinand Lion.
Hin und zurück op. 45a (1927). Sketch with Music. Text: Marcellus Schiffer. C.Ed. I, 6.
Neues vom Tage (1928-1929). Opera in 3 Acts. Text: Marcellus Schiffer.
Neues vom Tage, New Version (1953-1954). Comic Opera in 2 Acts. Text: Marcellus Schiffer, Revision: Paul Hindemith.
Lehrstück (1929). Text: Bertolt Brecht. C.Ed. I, 6.
Mathis der Maler (1934-1935). Opera in 7 Scenes. Text: Paul Hindemith.
Die Harmonie der Welt (1956-1957). Opera in 5 Acts. Text: Paul Hindemith.
The Long Christmas Dinner - Das lange Weihnachtsmahl (1960-1961). Opera in 1 Act. Text: Thornton Wilder, German Version: Paul Hindemith. C.Ed. I, 11

Ballets
Der Dämon op. 28 (1922). Dance Pantomime in 2 Scenes by Max Krell.
Nobilissima Visione (1938). Dance Legend in 6 Scenes by Paul Hindemith and Leonide Massine.
Theme with four Variations (According to the Four Temperaments) (1940) for String Orchestra and Piano.
Hérodiade de Stéphane Mallarmé (1944). Recitation Orchestrale.

Music for Radio Plays
Der Lindberghflug (1929). Text: Bertolt Brecht, music by Paul Hindemith and Kurt Weill. C.Ed. I, 6.
Sabinchen (1930). Text: Robert Seitz.

Orchestral Works
Lustige Sinfonietta op. 4 (1916). For Small Orchestra. C.Ed. II, 1.
Rag Time (wohltemperiert) für grosses Orchester (1921). C.Ed. II, 1.
Nusch-Nuschi-Tänze (1921). Dance Suite from the Play for Burmese Marionettes
Zwischenaktmusik zu einer grotesken Oper für Bratschen und Orchester (um 1922). (Fragment). Lost.
Der Dämon (1923). Concert Suite from the Dance Pantomime
Konzert für Orchester op. 38 (1925). C.Ed. II, 1.
Neues vom Tage (1930). Overture to the Opera with Concert Finale
Philharmonisches Konzert (1932). Variations for Orchestra. C.Ed. II, 2.
Symphonie "Mathis der Maler" (1933-1934). C.Ed. II, 2.
Symphonische Tänze (1937) for large Orchestra. C.Ed. II, 3.
Nobilissima Visione (1938). Orchestral Suite after the Music of the Dance Legend
Symphonie in Es (1940). C.Ed. II, 4.
Amor and Psyche (Farnesina) (1943). Ballet Overture.C.Ed. II, 4.
Poor Lazarus and the Rich Man (1941) (Fragment).C.Ed. II,4.
Symphonic Metamorphosis (1943). On Themes by C. M. von Weber.
Symphonia Serena (1946).
Sinfonietta in E (1949-1950).
Symphonie "Die Harmonie der Welt" (1951).
Symphony in B flat for Concert Band (1951).
Pittsburgh Symphony (1958). C.Ed. II, 7.
Marsch für Orchester über den alten "Schweizerton" (1960). C.Ed. II, 7.

Concert Music
Konzertmusik für Blasorchester op. 41 (1926). Infantry Music.
Konzertmusik für Solobratsche und grösseres Kammerorchester op. 48, early version (1930). C.Ed. III,3.
Konzertmusik für Solobratsche und grösseres Kammerorchester op. 48, definitive version (1930). C.Ed. III, 4.
Konzertmusik für Klavier, Blechbläser und Harfen op. 49 (1930).
Konzertmusik für Streichorchester und Blechbläser op. 50 (1930). C.Ed. II, 1.

Concertos
Konzert in Es-Dur für Violoncello und Orchester op. 3 (1915-1916). C.Ed. III, 5.
Klaviermusik mit Orchester op. 29 (1923). Piano left hand alone. Manuscript privately owned.
Der Schwanendreher (1935). Concerto for Viola and Small Orchestra on Old Folk Songs. C.Ed. III, 4.
Trauermusik (1936). For Viola Solo (Violin or Violoncello) and String Orchestra. C.Ed. III, 4.
Konzert für Violine und Orchester (1939). C.Ed. III, 3.
Konzert für Violoncello und Orchester (1940). C.Ed. III, 6.
Concerto for Piano and Orchestra (1945).
Concerto for Clarinet in A and Orchestra (1947). C.Ed. III, 7.
Concerto for Woodwinds, Harp and Orchestra (1949). C.Ed. III, 8.
Concerto for Horn and Orchestra (1949). C.Ed. III, 7.
Concerto for Trumpet, Bassoon and String Orchestra (1949/1952). C.Ed. III, 8.
Concerto for Organ and Orchestra (1962-1963).

Concertante Chamber Music
Kammermusik Nr. 1 op. 24a (1922).
Kammermusik Nr. 2 op. 36 Nr. 1 (1924), for Piano Obligato and 12 Soloinstruments
Kammermusik Nr. 3 op. 36 Nr. 2 (1925), for Violoncello Obligato und 10 Soloinstruments
Kammermusik Nr. 4 op. 36 Nr. 3 (1925), for Soloviolin and Large Chamber Orchestra
Kammermusik Nr. 5 op. 36 Nr. 4 (1927), for Soloviola and Large Chamber Orchestra
Kammermusik Nr. 6 op. 46 Nr. 1 (1927), for Viola d'amore and Chamber Orchestra
Kammermusik Nr. 7 op. 46 Nr. 2 (1927), for Organ and Chamber Orchestra

Chamber Music
Solo Sonatas / Solo Works
Sonate g-moll für Violine allein op. 11 Nr. 6 (1917). (In C.Ed. V, 5 still as a fragment; after the publication in the Complete Edition a complete source of the Sonata was found and published.)
Sonate für Violine allein op. 31 Nr. 1 (1924). C.Ed. V, 5.
Sonate für Violine allein (Es ist so schönes Wetter draussen) op. 31 Nr. 2 (1924). C.Ed. V, 5.
Satz und Fragment aus einer Sonate für Violine allein (ca 1925). C.Ed. V, 5.
Sonate für Bratsche allein op. 11 Nr. 5 (1919). C.Ed. V, 5.
Sonate für Bratsche allein op. 25 Nr. 1 (1922). C.Ed. V, 5.
Sonate für Bratsche solo op. 31 Nr. 4 (1923). C.Ed. V, 5.
Sonate für Bratsche solo (1937). C.Ed. V, 5.
Sonate für Violoncello allein op. 25 Nr. 3 (1923). C.Ed. V, 5.
Stücke für Flöte allein (1927). (published as: Acht Stücke für Flöte allein.)
Sonate für Harfe (1939).

Duo Sonatas / Duos
Großes Rondo in B dur für Klarinette in B und Klavier (1912/13). Verschollen.
Sonate in d moll (1912/13), für Klavier und Violine. Verschollen.
Fragment eines Satzes für Violine und Klavier (1914/15). GA V, 6.
Sonate in Es für Klavier und Violine op. 11 Nr. 1 (1918). GA V, 6.
Sonate in D für Klavier und Violine op. 11 Nr. 2 (1918). GA V, 6 (siehe auch den Nachtrag in: GA V, 7).
Sonate in E für Geige und Klavier (1935). GA V, 7.
Sonate in C für Geige und Klavier (1939). GA V, 7.
Sonate für Bratsche und Klavier op. 11 Nr. 4 (1919). GA V, 6.
Sonate für Bratsche und Klavier op. 25 Nr. 4 (1922). GA V, 6.
Sonate für Bratsche und Klavier (1939). GA V, 7.
Kleine Sonate für Viola d'amore und Klavier op. 25 Nr. 2 (1922). GA V, 6.
Drei Stücke für Violoncello und Klavier op. 8 (1917). GA V, 6.
Sonate für Violoncello und Klavier op. 11 Nr. 3 (1919). GA V, 6.
A Frog he went a-courting. Variations for Violoncello and Piano (1941). GA V, 7.
Sonata for Violoncello and Piano (1948). GA V, 7.
Sonate für Kontrabaß und Klavier (1949). GA V, 7.
Sonate für Flöte und Klavier (1936).
Echo für Flöte und Klavier (1942).
Sonate für Oboe und Klavier (1938).
Sonata for English Horn and Piano (1941).
Sonate in B für Klarinette und Klavier (1939).
Sonate für Fagott und Klavier (1938).
Sonate für Horn und Klavier (1939).
Sonate für Althorn und Klavier (1943).
Sonate für Trompete und Klavier (1939).
Sonata for Trombone and Piano (1941).
Sonate für Baßtuba und Klavier (1955).
Duettsatz für Bratsche und Cello (1934). GA V, 5.
Kanonische Sonatine für zwei Flöten op. 31 Nr. 3 (1923).
Konzertstück für zwei Altsaxophone (1933).

Trios
Trio für Violine, Bratsche und Cello op. 34 (1924). C.Ed. V, 5.
2. Trio für Geige, Bratsche und Cello (1933). C.Ed. V, 5.
Andante und Scherzo op. 1 (1914), for Piano, Clarinet and Horn. Lost.
Trio für Klavier, Bratsche und Heckelphon (oder Tenor Saxophon) op. 47 (1928).

Quartets
1. Streichquartett C Dur op. 2 (1915).
2. Streichquartett f moll op. 10 (1918). (First published as: 1. Streichquartett).
3. Streichquartett op. 16 (1920). (First published as: 2. Streichquartett).
4. Streichquartett op. 22 (1921). (First published as: 3. Streichquartett).
5. Streichquartett op. 32 (1923). (First published as: 4. Streichquartett).
6th String Quartet in E flat (1943). (First published as: 5th String Quartet).
7th String Quartet in E flat (1945). (First published as: 6th String Quartet).
Quartett für Klarinette, Geige, Cello und Klavier (1938).
Sonate für vier Hörner (1952).

Quintets, Septet, Octet, Double Quintet
Quintett e moll op. 7 (1917). For Piano and String Quintet. Lost.
Quintett für Klarinette und Streichquartett op. 30, original version (1923).
Quintett für Klarinette und Streichquartett, late version (1955).
Kleine Kammermusik für fünf Bläser op. 24 Nr. 2 (1922).
Blasseptett (1948).
Oktett (1958).
Sonate für 10 Instrumente (1917). Only a fragment has survived.

Piano Works
Thema mit Variationen in Es dur (1912/13). Lost.
7 Walzer für Klavier 4-händig op. 6 (1916). C.Ed. V, 9.
Marsch f moll (1916), für Klavier 4-händig. Lost.
Polonaise cis moll (1917), für Klavier. Lost.
In einer Nacht op. 15 (1919). C.Ed. V, 9.
Sonate für Klavier op. 17 (1920). 2 movements. Lost (except: Stretta of the final movement). Preserved in a reconstruction by Bernhard Billeter. C.Ed. V, 9.
Tanzstücke für Klavier op. 19 (1920). C.Ed. V, 9.
Klavierstück (1921). Lost.
Lied für Klavier (beginning of the 1920s). C.Ed. V, 9.
Berceuse für Klavier (ca 1921). C.Ed. V, 9.
Suite 1922 op. 26 (1922). C.Ed. V, 9.
Klaviermusik op. 37 (1925). First Part: Exercise in Three Pieces. C.Ed. V, 9.
Klaviermusik op. 37 (1927). Second Part: Series of Small Pieces. C.Ed. V, 9.
Klavierstück (1929). C.Ed. V, 9.
Klavierstück - Fragment (ca 1927). C.Ed. V,9.
Einige Klavierstücke - sketches (1931). C.Ed. V, 9.
Erste Sonate für Klavier (after Hölderlin's "Der Main") (1936). C.Ed. V, 10.
Variationen. Ursprünglicher 2. Satz aus der Ersten Sonate für Klavier (1936). C.Ed. V, 10.
Zweite Sonate für Klavier (1936). C.Ed. V, 10.
Dritte Sonate für Klavier (1936). C.Ed. V, 10.
Sonate für Klavier vierhändig (1938). C.Ed. V, 10.
Sonata for Two Pianos, Four Hands (1942). C.Ed. V, 10.
Ludus tonalis (1942). C.Ed. V, 10.

Organ Works
Zwei Stücke für Orgel (1918), manuscript privately owned.
Erste Sonate für Orgel (1937).
Zweite Sonate für Orgel (1937).
Sonate für Orgel nach alten Volksliedern (1940).

Songs
Songs with Piano Accompaniment (Gesang und Klavier)

Songs in German
7 Lieder for Soprano or Tenor with Piano Accompaniment (1908/09). C.Ed. VI, 1.
Nähe des Geliebten for Voice and Piano (1914), Text: Johann Wolfgang v. Goethe. C.Ed. VI, 1.
Lustige Lieder in Aargauer Mundart for High Voice and Piano, Op. 5 (1914-16). C.Ed. VI, 1.
Zwei Lieder for Alto and Piano (1917). C.Ed. VI, 1.
Drei Hymnen von Walt Whitman for Baritone and Piano, Op. 14 (1919). C.Ed. VI, 1.
Lieder mit Klavier op. 18 (1920). C.Ed. VI, 1.
Das Kind for Soprano and Piano (1922). Text: Friedrich von Hagedorn. C.Ed. VI, 1.
Das Marienleben op. 27 (1922-23). Text: Rainer Maria Rilke. C.Ed. VI, 1.
Das Marienleben, New version (1935-48). Text: Rainer Maria Rilke.
4 Lieder nach Texten von Matthias Claudius (1933). I. Es ist etwas im Menschen, II. Der Tod ist 'n eigener Mann, III. Ein gutes Gewissen im Menschen, IV. Wenn du Paul den Peter loben hörst. Nos III and IV are lost.
4 Lieder nach Texten von Rückert (1933). I. Mitternacht, II. Ein Obdach gegen Sturm und Regen, III. Das Ganze, nicht das Einzelne, IV. Was du getan. Nos. I, II and IV are lost.
4 Lieder nach Texten von Novalis (1933). I. Hymne, II. Das Lied der Toten, III. Gesang, IV. Ich will nicht klagen mehr.
Drei Lieder nach Texten von Wilhelm Busch (1933). Lost.
Sechs Lieder nach Texten von Friedrich Hölderlin (1933/35). I. An die Parzen, II. Sonnenuntergang (zwei Fassungen), III. Ehemals und jetzt (zwei Fassungen), IV. Des Morgens, V. Fragment, VI. Abendphantasie.
Vier Lieder nach Texten des Angelns Silesius (1935). I. Weg, weg, ihr Seraphim, II. Es kann in Ewigkeit, III. Du sprichst, das Grosse kann nicht, IV. Du sprichst, versetze dich.
Lieder nach Texten von Clemens Brentano (1936). I. Singet leise, II. Brautgesang.
Das Köhlerweib ist trunken (1936), Text: Gottfried Keller.
Der Einsiedler (1939), Text: Agostinho da Cruz, deutsch: Karl Vossler.
Lieder nach Texten von Friedrich Nietzsche (1939). I. Unter Feinden, II. Die Sonne sinkt.
Du bist mein - I am of thee (1941). Text: Werinher von Tegernsee. C.Ed. VI, 3.
Frauenklage - Lady's Lament (1942). Text: Burggraf zu Regensburg. C.Ed. VI, 3.
Zum Abschiede meiner Tochter (1942). Text: Joseph v. Eichendorff. C.Ed. VI, 3.
Nach einer alten Skizze (1942). Text: Conrad Ferdinand Meyer. C.Ed. VI, 3.
Abendständchen (1942). Text: Clemens Brentano. C.Ed. VI, 3.
Tränenkrüglein (1942). Text: Rainer Maria Rilke. C.Ed. VI, 3.
Trübes Wetter (1942). Text: Gottfried Keller. C.Ed. VI, 3.
O Grille, sing (1942). Text: Maximilian Dauthendey. C.Ed. VI, 3.
Abendwolke (1942). Text: Conrad Ferdinand Meyer. C.Ed. VI, 3.
Ich will Trauern lassen stehn (1942). Text: Anonym. C.Ed. VI, 3.
Wer wusste je das Leben recht zu fassen (1942). Text: August v. Platen. C.Ed. VI, 3.

French Songs
On arrange et on compose (1942). Text: Rainer Maria Rilke. C.Ed. VI, 3.
La cigale et la fourmi (1942). Text: Lafontaine. C.Ed. VI, 3.
Lampe du soir (1942). Text: Rainer Maria Rilke. C.Ed. VI, 3.
Eau qui se presse (1942). Text: Rainer Maria Rilke. C.Ed. VI, 3.
C'est de la côte d'Adam (1942). Text: Rainer Maria Rilke. C.Ed. VI, 3.
Bal des pendus (1944). Text: Jean-Arthur Rimbaud. C.Ed. VI, 3.
Sainte (1944). Text: Stéphane Mallarmé. C.Ed. VI, 3.
Le Revenant (1944). Text: Charles Baudelaire. C.Ed. VI, 3..

English Songs
On hearing "The Last Rose of Summer" (1942). Text: Charles Wolfe. C.Ed. VI, 3.
Echo (1942). Text: Thomas Moore. C.Ed. VI, 3.
On a Fly Drinking out of his Cup (1942). Text: William Oldys. C.Ed. VI, 3.
The Whistlin' Thief (1942). Text: Samuel Lover. C.Ed. VI, 3.
Envoy (1942). Text: Francis Thompson. C.Ed. VI, 3.
The Wild Flower's Song (1942). Text: William Blake. C.Ed. VI, 3.
To a Snowflake (1942). Text: Francis Thompson. C.Ed. VI, 3.
La Belle Dame sans Merci (1942). Text: John Keats. C.Ed. VI, 3.
Sing on there in the swamp (1943). Text: Walt Whitman. C.Ed. VI, 3.
To Music, to becalm his Fever (1944). Text: Robert Herrick. C.Ed. VI, 3.
Two Songs (1955). Text: Oscar Cox. C.Ed. VI, 3.

Latin Songs
Levis exsurgit Zephyrus (1942). Text: Phaedrus. C.Ed. VI, 3.
Ranae ad Solem (1944). Anonymus C.Ed. VI, 3.

Motetten. Texts: the Christmas Gospels.
Exiit edictum (first setting 1940). C.Ed. VI, 3.
Exiit edictum (1960). C.Ed. VI, 3.
Pastores loquebantur (1944). C.Ed. VI, 3.
In Principio erat Verbum (1941). C.Ed. VI, 3.
Dicebat Jesus Scribis et Pharisaeis (1959). C.Ed. VI, 3.
Dixit Jesus Petro (1959). C.Ed. VI, 3.
Angelus Domini apparuit (1958). C.Ed. VI, 3.
Erat Joseph et Maria (1959). C.Ed. VI, 3.
Defuncto Herode (1958). C.Ed. VI, 3.
Cum natus esset (1941). C.Ed. VI, 3.
Cum factus esset Jesus annorum duodecim (1959). C.Ed. VI, 3.
Vidit Joannes Jesum venientem (1959). C.Ed. VI, 3.
Nuptiae factae sunt (1944). C.Ed. VI, 3.
Cum descendisset Jesus de monte (1960). C.Ed. VI, 3.
Ascendente Jesu in naviculam (1943). C.Ed. VI, 3.

Solo Songs with Instrumental Accompaniment
Wie es wär', wenn's anders wär' (1918). For Soprano and 8 Instruments. C.Ed. VI, 4.
Melancholie op. 13 (1917-1919). 4 Songs on Texts by Christian Morgenstern for Mezzosoprano and String Quartet. C.Ed. VI, 4.
Des Todes Tod op. 23a (1922). Songs to Poems by Eduard Reinacher for Woman's Voice Accompanied by 2 Violas and 2 Violoncelli. C.Ed. VI, 4.
Die junge Magd op. 23 Nr. 2 (1922). Six Poems of Georg Trakl for Alto Voice with Flute, Clarinet and String Quartet. C.Ed. VI, 4.
Die Serenaden op. 35 (1924). Little Cantata to Romantic Texts for Soprano, Oboe, Viola and Violoncello. C.Ed. VI, 4.
Eine Kammermusik for Alto Voice, Flute, Harp, Piano and String Quartet (ca 1920). C.Ed. VI, 4.

Orchestral Songs
Drei Gesänge für Sopran und Orchester op. 9 (1917). C.Ed. VI, 5.
Sechs Lieder aus "Das Marienleben" (1939/59) for Soprano and Orchestra, Text: Rainer Maria Rilke. C.Ed. VI, 5.

Choral Works
A Cappella Choral Works
Mixed Chorus
Lieder nach alten Texten op. 33 (1923). C.Ed. VII, 5.
Five Songs On Old Texts (1937). C.Ed. VII, 5.
Six chansons (1939), Text: Rainer Maria Rilke. C.Ed. VII, 5.
Fünfstimmige Madrigale nach Texten von Josef Weinheber (1958). C.Ed. VII, 5.
Messe for Mixed Choir A Cappella (1963). C.Ed. VII, 5.

Men's Choir
Männerchöre a cappella (1929/30). C.Ed. VII, 5.
Der Tod (1931), Text: Friedrich Hölderlin. C.Ed. VII, 5.
Chöre für vier Männerstimmen (1939). C.Ed. VII, 5.
Erster Schnee (1939), Text: Gottfried Keller. C.Ed. VII, 5.
Variationen über ein altes Tanzlied (1939), Text: Anonymus. C.Ed. VII, 5.
The Demon of the Gibbet / Galgenritt (1949), Text: Fitz-James O'Brien, German: Paul Hindemith. C.Ed. VII, 5.

Women's or Boy's Choir
Spruch eines Fahrenden (1928). For 3 Equal Voices. Text: Anonymus. C.Ed. VII, 5.
Chorlieder für Knaben (1930). C.Ed. VII, 5.

Choral Works with Orchestra
Das Unaufhörliche (1931). Oratorio in 3 Parts. Text: Gottfried Benn. C.Ed. VII,1
When lilacs last in the door-yard bloom'd. A Requiem "For those we love" / Als Flieder jüngst mir im Garten blüht'. Ein Requiem "Für die, die wir lieben" (1946), Text: Walt Whitman, German: Paul Hindemith. C.Ed. VII, 2.
Apparebit repentina dies (1947). For Mixed Chorus and Brass Instruments. Text: Poem from the Middle Ages.
Ite angeli veloces (1953/55). Cantate in 3 Parts. Text: Paul Claudel, German: Paul Hindemith.
Mainzer Umzug (1962). Public Entertainment. Text: Carl Zuckmayer.
Credo - Fragment (1963). For Voice and Instruments. C.Ed. VII, 5.

Sing- and Spielmusik, Practice Pieces and Studies
Collections
Spielmusik für Streichorchester, Flöten und Oboen op. 43,1 (1927). C.Ed. VIII, 1.
Lieder für Singkreise op. 43,2 (1926). C.Ed. VIII, 1.
Schulwerk für Instrumental-Zusammenspiel op. 44.
Neun Stücke in der ersten Lage für zwei Geigen oder zweistimmigen Geigenchor (first position, for two violins or violin ensemble) op. 44,1 (1927). C.Ed. VIII, 1.
Acht Kanons für zwei Geigen oder zweistimmigen Geigenchor mit begleitender 3. Geige oder Bratsche op. 44,2 (1927). C.Ed. VIII, 1.
Acht Stücke für 2 Violinen, Viola, Violoncello und Kontrabass op. 44,3 (1927). C.Ed. VIII, 1.
Fünf Stücke für Streichorchester op. 44,4 (1927). C.Ed. VIII, 1.

Sing und Spielmusik für Liebhaber und Musikfreunde op. 45.
Frau Musica op. 45,1 (1928). Music to a text by Luther to sing and play. C.Ed. VIII, 1.
Acht Kanons für zwei Singstimmen mit Instrumenten op. 45,2 (1928). C.Ed. VIII, 1.
Ein Jäger aus Kurpfalz op. 45,3 (1928). C.Ed. VIII, 1.
Leichte Fünftonstücke op. 45,4 (1928). For Piano. C.Ed. VIII, 1.
Martinslied op. 45,5 (1929), Text: Johannes Olorinus. C.Ed. VIII, 1.

Spiel- und Hörschule (1931). Only a fragment has survived.
Plöner Musiktag (1932). C.Ed. VIII, 1.

Single Works
Pieces with Voice
Tuttifäntchen (1922). Christmas Tale in 3 Scenes by Hedwig Michel und Franziska Becker.
Zwei Lieder für drei Singstimmen (1927).
Ach wie singt sich eine Quarte doch so schwer (ca 1927).
Lügenlied (1928).
Sabinchen (1930). Radio Play, Text: Robert Seitz.
Wir bauen eine Stadt (1930). Play for Children, Text: Robert Seitz.
Kinderoper - (um 1930). Only a fragment has survived.
Ausflugskantate (1934) for Solo, Choir und 4 Clarinets. Lost.
9 kleine Lieder für amerikanisches Schulliederbuch (1938).
Dame Music (1943), New Version of Frau Musica.

Instrumental Pieces
Studien für Violine allein (ca 1916). Only a fragment has survived.
Übungen für Geiger (1926).
Triosatz für 3 Gitarren (1930). From a cantata composed together with Harald Genzmer und Oskar Sala.
44 Stücke für eine und zwei Geigen (1931). For the Doflein Violin School.
Zwei Duette für zwei Geigen (1931).
Übungsstück für das Räuberorchester in der Hochschule (1932). Lost.
Unterhaltungsmusik für 3 Klarinetten (1934). Lost.
Duett für Fagott und Kontrabass (ca 1935) Lost.
Drei leichte Stücke für Cello und Klavier. Cello in first position (1938).
Stücke für Fagott und Violoncello (1941).
Kleine Sonate für Cello und Klavier (1942).
Gay (ca 1942) for 2 Cellos
Ludus minor (1944) for Cello and Clarinet.
6 ganz leichte Stücke für Fagott und Cello (ca 1942).
Blockflötentrio (ca 1942).

Occasional Works
Canons
Kanon zu vier Stimmen for the Hotel Grotrian (1928).
Kanon zu zwei Stimmen (ca 1936). O Sönnlein geh nicht fort.
Geburtstagskanon für Richard Donovan (1941). For Five Voices
Canon à 4 (1942). Sing, hevin imperial ... Christmas Canon 1942.
Canon à 4 (1943). Birthday Canon für Ernest Ansermet, Text: Abaelard.
Sine musica nulla disciplina (1944). Canon in 3 Voices. For Werner Reinhart, Text: Hrabanus Maurus.
Canon à 4 (1945), Text: Rubayat.
Birthday Canon for Mrs. Elizabeth Sprague Coolidge (1949).
Kanon zu drei Stimmen (1949). For Preussner's 50th Birthday. Text: Guido von Arezzo.
Kanon zu fünf Stimmen (1952). For Ludwig Strecker's 70th Birthday.
Kanon zu sechs Stimmen (1952). For the 25th Anniversary of the Basel Chamber Orchestra.
Kanon zu drei Stimmen (1953). For the Straumanns' Baby Ulrich Daniel.
Canon à 3 (1954). For the Amigos de la Musica in Buenos Aires.
Kanon à 11 (1954). For Ernest Ansermet.
Kanon zu vier Stimmen (1955). For the Vienna State Opera on the Occasion of its Reopening with Warmest Wishes.
Kanon zu drei Stimmen (1956). For the 40th Anniversary of the Vienna Concert Society.
Kanon zu vier Stimmen (1956). For Othmar Schoeck's 70th Birthday.
Kanon zu drei Stimmen (1957). For Heinz Tiessen's 70th Birthday.
Kanon zu drei Stimmen (1957). For Igor Stravinsky's 75th Birthday.
Kanon zu drei Stimmen (1958). For the 100th Anniversary of the Vienna Singing Academy.
Kanon zu drei Stimmen (1958). For Emil Preetorius's 75th Birthday.
Kanon zu vier Stimmen (1958). For A.-E. Cherbuliez's 70th Birthday.
Kanon, siebenstimmig (1958). All Best Wishes to the Rias Chamber Choir on its Anniversary
Kanon, neunstimmig (1958). For the Rias Chamber Choir on its Tenth Anniversary
Kanon zu vier Stimmen (1959). For Joseph Haas's 80th Birthday.
Festmarsch (Kanon) für Männerchor und Tuba (1959). For Volkmar Andreae on his 80th Birthday.
Kanon zu drei Stimmen (1960). I wanted to thank everyone by post.
2 Kanons zu drei Stimmen (1962). For Tex's 80th Birthday. Long Live the Birthday Boy
Kanon zu fünf Stimmen (1962). Für Ludwig Strecker's 80th Birthday. Text: Johannes de Muris.
Kanon zu vier Stimmen (1963). For Hans Scharoun's 70th Birthday.

Film Music
Musik zum Film "In Sturm und Eis" (1921). 5 Acts. Preserved in a Reconstruction by Lothar Prox.
Filmmusik for mechanical (Welte) Piano to the Film "Vormittagsspuk" (Morning Spook, 1928). Lost.
Musik zu einem Trickfilm (1931). Lost.
Musik zu einem abstrakten Fischinger-Film (1931). Lost.
Reklamefilm Clermont & Fouet (1931). Lost.
Filmmusik für Violine solo zu einem Fischinger-Film (1932). Lost.

Mechanical Music / Radio Music on Records
Rondo aus der Klaviermusik op. 37. Arranged for mechanical piano (1926).
Musik für mechanische Instrumente op. 40 (1926).
Musik für mechanische Instrumente (1927). Fragment.
3 Anekdoten für Radio (1925). (Published as "Drei Stücke für 5 Instrumente").
Grammophonplatten-eigene Stücke (1930).

Trautonium Works
Des kleinen Elektromusikers Lieblinge (1930). Seven Pieces for 3 Trautoniums.
Konzertstück für ein Trautonium mit Begleitung des Streichorchesters (1931).
Langsames Stück und Rondo für Trautonium (1935). Lost. Preserved in a Reconstruction by Oskar Sala.

Arrangements
Serenade for Cello by David Popper (1919). Lost.
Bearbeitungen ausländischer Lieder für Streichquintett und Klarinette (1936) Lost.
Robert Schumann, Violinkonzert d-moll (1937). Violin part.
Claudio Monteverdi, Orfeo (1943).
Max Reger, 100. Psalm (1955).
Suite französischer Tänze from the "Livres de Danceries" by Claude Gervaise and Estienne du Tertre, printed by Pierre d'Attaignant for small orchestra (1958).
Einrichtungen und Generalbassaussetzungen of works by Ariosti, J.S. Bach, H.I.F. Biber, G. Gabriele, Ganswindt, Händel, Rust, Stamitz, Vivaldi, etc.

Cadenzas
Kadenzen zu Mozart-Violinkonzerten (1933). Lost.
Kadenzen zu Mozarts Klavierkonzert KV 41 (1933). Lost.
Kadenzen zum "Adelaide"-Konzert von Mozart/Casadesus (1933).

Parody Pieces
Das Grab ist meine Freude (um 1917). Lost.
"Gut Zid" (ca 1917). Lost.
Musik für 6 Instrumente und einen Umwender (ca 1917). Lost.
"The spleeny Mau" (ca 1917). Lost.
Todtmooser Abschiedsmarsch mit Hymne (1917). Lost.
Jubiläumsmusik for Fritz Dippel's 25th Anniversary of Service (1917). Lost.
Mitternacht (1918). Lost.
Der Orkan (1919).
Fox-trot (1919). For the Album of Frl. Irene Walther. Lost.
Frau Sorge (1919). Melodrama with Piano, Text: Ludwig Jakobowski. Lost.
"Een krachtig vvedsel" Konzertwalzer (1920). Lost.
Colombo, Intermezzo (1920). Lost.
Gouda-Emmental Marsch (1920). Lost.
Lijonel, der Abschieds-Foxtrot (1920). Lost.
Young Lorch Fellow (1920). Lost.
Heimat-Sehnen (1920). Lost.
Das atonale Cabaret (1921). Lost.
Musik zum Genossenschaftsfest "Einfuhrmesse in Timbuktu" (1922). Lost.
Der Sturm im Wasserglas (1922) Berceuse. Lost.
"Bobby's Wahn-Step" (1922). Lost.
Tipopo-Regiments-Marsch (1922). For Piano. Lost. Arranged for ensemble in 1924.
"Minimax" Repertorium für Militärorchester (1923). For String Quartet.
Zwei Shimmies (1924). Lost.
Lied mit grosser Orchesterbegleitung im Stile Rich. Strauss' (ca 1925). Only the vocal part preserved.
Ouvertüre zum "Fliegenden Holländer", wie sie eine schlechte Kurkapelle morgens um 7 am Brunnen vom Blatt spielt (ca 1925). For String Quartet.
Musikalisches Blumengärtlein und Leyptziger Allerley (1927).
In diesen heiligen Hallen. Bahnsteig V, Abfahrt 1213 (ca 1930). For Double Bass.
Bass im sechsten Stock, oder: Des Löwen Wonne (ca 1930). For Double Bass.
Marsch für Blasmusik (1932). Lost.
Melodrama (1944).
The Expiring Frog: recitative e aria ranatica (1944), Text: Rezitativ: Encyclopedia Britanica, Aria: Charles Dickens.

Compositions from Teaching Activity
A Song of Music / Lied von der Musik (1940), Text: George Tyler, German: Paul Hindemith.
Fuge für Klavier (1940).
Old Irish Air (1940). German text: Paul Hindemith.
Fuge für Klavier (1940)
Introduction and Passacaglia for String Trio (1941).
Enthusiasm (1941). For Flute and Piano
Sonata for Piano, first movement (1941).
Agnus Dei und Dona nobis (1941). For 3-part Men's Choir
Lied mit Klavier (I am thee), (1941).

Music for Puppet Theatre
Musik zu "Kasperls Heldentaten" von Pocci. For Cello.
Musik zu "Das Glück ist blind" von Pocci (ca 1915). For Piano.
Musik zur "Lohengrin"-Parodie von Friedrich Huch (ca 1915) For Piano.
Musik zu "Kasperl unter den Wilden" von Pocci (ca 1915). Ensemble: Children's Trumpet, Triangle, Snare Drum, and Cello.
Duett aus "Die Zaubergeige" von Pocci (1916). For Voice and Piano
Musik zu "Die Zaubergeige" von Pocci (ca 1916). For Cello.