Rudolf Hindemith, who found working under his brother's authority irksome, left and was replaced, but returned for a period during which the quartet's recordings were made and the London (BBC sponsored) debut was given (December 1926).
His repertoire includes more than 40 violin concertos by composers such as Vivaldi, Bach, Mozart, Beethoven, Paganini, Wieniawski, Mendelssohn, Brahms, Tchaikovsky, Lalo, Sibelius, Karol Szymanowski, Khachaturian, Bartók, Stravinsky, Hindemith, Prokofiev, Shostakovich and also music of Slovenian composers.
World premières he presided over included works by Bussotti, Ferneyhough, Górecki, Ligeti, Rihm, Stockhausen and Xenakis, and he gave the French premières of Hindemith's Symphony Mathis der Maler and Stravinsky's The Rake's Progress and the European premiere of Susman's Trailing Vortices.
The Quartet also performed contemporary music in performances, commissions, and recordings, and helped to make composers such as Bartók, Shostakovich, Bloch, Babbitt, Wuorinen, Martinon, Hindemith, Shifrin, Crawford-Seeger, Johnston, and Husa better known and accessible to the public.
Among the composers who set his poetry to music are Schubert, Robert and Clara Schumann, Brahms, Josef Rheinberger, Mahler (song cycles Kindertotenlieder, Rückert-Lieder), Max Reger, Richard Strauss, Zemlinsky, Hindemith, Bartók, Berg, Hugo Wolf and Heinrich Kaspar Schmid.
Hindemith wrote the piece for a collection of miniature operas presented on 17 July 1927 at the Baden-Baden Music Festival in the Theater Baden-Baden.
Schoenberg, Milhaud, Goldman, H. Owen Reed, Hindemith, Vincent Persichetti, and Morton Gould are all composers who came into their own during this time as composers of wind band music, and helped to foster a core of repertoire that would be performed for generations to come.
He is especially interested in twentieth century music, and, as accompanist, he initiated and let a series of lieder recitals, featuring music by such composers as Schoenberg, Pfitzner, Korngold, Rihm, Hindemith, Bridge, Holst, Rebecca Clarke, Crumb and Argento.
By 1975 the group had built up a repertoire of 120 works, including the complete Beethoven, Schubert, Cherubini and Bartók quartets, and works by Haydn, Mozart, Brahms, Hugo Wolf, Pfitzner, Verdi, Donizetti, Debussy, Smetana, Kodály, Janáček, Hindemith, Alban Berg, Gian Francesco Malipiero, Witold Lutosławski, Milko Kelemen, Wittinger and Horvath.
These were followed by the Hungarian premieres, mostly shortly after their world premieres, of Stravinsky's Oedipus rex, Puccini's Turandot, Milhaud's "three-minute" operas, Hindemith's Hin und zurück, Malipiero's Il finto Arlecchino (from his trilogy Il mistero di Venezia), and others.
Hindemith revised the opera, changing the text and adding a little new music, for the Teatro San Carlo, Naples on 7 April 1954.
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The mischievous nudity particularly aroused the ire of Ernst "Putzi" Hanfstängel, Hitler’s musical advisor, and was later cited by the Nazis as evidence that the "degenerate art" of the "cultural bolshevist" Hindemith should be excluded from Germany.
His early style was influenced by Hungarian folklore while his later works were more toward Hindemith and expressively forceful idioms.
Her awards include the Busoni Prize of the Berlin Academy of the Arts, the Ernst von Siemens Music Prize for composition, the Paul Hindemith Prize of the Schleswig-Holstein Music Festival, and the composition prize of the ARD.
Also in her repertoire were vocal-symphonic works by Bach, Handel, Beethoven, Brahms, Mendelssohn, Mahler, Shostakovich and Hindemith.
She studied in Newcastle, York and Birmingham with Denis Matthews, in Switzerland with one of Claudio Arrau's most renowned students, Edith Fischer and, through a Hindemith Foundation chamber scholarship, with Bruno Giuranna.
A new choreography to Hindemith's music was devised by Jimmy Gamonet De Los Heros for a 1990 production at Wolf Trap, titled Movilissimanoble, but was pronounced "at best a qualified success as a symphonic abstraction in a neo-Balanchinian mode" (Kriegsman 1990).