This is a list of classical repertoire for two violins – either unaccompanied, with orchestra, or with piano.

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.

A clarinet concerto is a concerto for clarinet; that is, a musical composition for solo clarinet together with a large ensemble (such as an orchestra or concert band). Albert Rice has identified a work by Giuseppe Antonio Paganelli as possibly the earliest known concerto for solo clarinet; its score appears to be titled "Concerto per il Clareto" and may date from 1733. It may, however, be intended for soprano chalumeau. There are earlier concerti grossi with concertino clarinet parts including two by Johann Valentin Rathgeber, published in 1728. Famed publishing house Breitkopf & Härtel published the first clarinet concerto in 1772. The instrument's popularity soared and a flurry of early clarinet concertos ensued. Many of these early concertos have largely been forgotten, though German clarinettist Dieter Klocker specialized in these "lost" works. Famous clarinet concertos of the Classical and early Romantic era include those of Wolfgang Amadeus Mozart, Carl Maria von Weber and Louis Spohr. Relatively few clarinet concertos, or wind instrument concertos generally, were produced during the middle and late Romantic music era, but the form became more popular in the twentieth century, with famous clarinet concertos from Carl Nielsen and Aaron Copland, as well as more recent ones by composers such as John Adams, Kalevi Aho, Elliott Carter, John Corigliano, Magnus Lindberg, Donald Martino, Christopher Rouse, and John Williams.

A concerto (; plural concertos, or concerti from the Italian plural) is, from the late Baroque era, mostly understood as an instrumental composition, written for one or more soloists accompanied by an orchestra or other ensemble. The typical three-movement structure, a slow movement (e.g., lento or adagio) preceded and followed by fast movements (e.g., presto or allegro), became a standard from the early 18th century. The concerto originated as a genre of vocal music in the late 16th century: the instrumental variant appeared around a century later, when Italians such as Arcangelo Corelli and Giuseppe Torelli started to publish their concertos. A few decades later, Venetian composers, such as Antonio Vivaldi, had written hundreds of violin concertos, while also producing solo concertos for other instruments such as a cello or a woodwind instrument, and concerti grossi for a group of soloists. The first keyboard concertos, such as George Frideric Handel's organ concertos and Johann Sebastian Bach's harpsichord concertos, were written around the same time. In the second half of the 18th century, the piano became the most used keyboard instrument, and composers of the Classical Era such as Joseph Haydn, Wolfgang Amadeus Mozart and Ludwig van Beethoven each wrote several piano concertos, and, to a lesser extent, violin concertos, and concertos for other instruments. In the Romantic Era, many composers, including Niccolò Paganini, Felix Mendelssohn, Frédéric Chopin, Robert Schumann, Johannes Brahms, Pyotr Ilyich Tchaikovsky and Sergei Rachmaninoff, continued to write solo concertos, and, more exceptionally, concertos for more than one instrument; 19th century concertos for instruments other than the piano, violin and cello remained comparatively rare, however. In the first half of the 20th century, concertos were written by, among others, Maurice Ravel, Edward Elgar, Richard Strauss, Sergei Prokofiev, George Gershwin, Heitor Villa-Lobos, Joaquín Rodrigo and Béla Bartók, the latter also composing a concerto for orchestra, that is without soloist. During the 20th century concertos appeared by major composers for orchestral instruments which had been neglected in the 19th century such as the clarinet, viola and French horn. In the second half of the 20th century and onwards into the 21st a great many composers have continued to write concertos, including Alfred Schnittke, György Ligeti, Dmitri Shostakovich, Philip Glass and James MacMillan among many others. An interesting feature of this period is the proliferation of concerti for less usual instruments, including orchestral ones such as the double bass (by composers like Eduard Tubin or Peter Maxwell Davies) and cor anglais (like those by MacMillan and Aaron Jay Kernis), but also folk instruments (such as Tubin's concerto for Balalaika, Serry's Concerto in C Major for Bassetti Accordion, or the concertos for Harmonica by Villa-Lobos and Malcolm Arnold), and even Deep Purple's Concerto for Group and Orchestra, a concerto for a rock band. Concertos from previous ages have remained a conspicuous part of the repertoire for concert performances and recordings. Less common has been the previously common practice of the composition of concertos by a performer to be performed personally, though the practice has continued via certain composer-performers such as Daniil Trifonov.

An orchestra ( ; OR-ki-strə) is a large instrumental ensemble typical of classical music, which combines instruments from different families. There are typically four main sections of instruments: The string section, including the violin, viola, cello, and double bass and Harp The woodwind section, including the flute, oboe, clarinet, bassoon, and occasionally saxophone The brass section, including the French horn (commonly known as the "horn"), trumpet, trombone, cornet, and tuba, and sometimes euphonium The percussion section, including the timpani, snare drum, bass drum, cymbals, triangle, tambourine, tam-tam and mallet percussion instruments Other instruments such as the piano, harpsichord, pipe organ, free-bass accordion and celesta may sometimes appear in a fifth keyboard section or may stand alone as soloist instruments, as may the concert harp and, for performances of some modern compositions, electronic instruments, and guitars. A full-size Western orchestra may sometimes be called a symphony orchestra or philharmonic orchestra (from Greek phil-, "loving", and "harmony"). The number of musicians employed in a given performance may vary from seventy to over one hundred, depending on the work being played and the venue size. A chamber orchestra (sometimes a concert orchestra) is a smaller ensemble of not more than around fifty musicians. Orchestras that specialize in the Baroque music of, for example, Johann Sebastian Bach and George Frideric Handel, or Classical repertoire, such as that of Haydn and Mozart, tend to be smaller than orchestras performing a Romantic music repertoire such as the symphonies of Ludwig van Beethoven and Johannes Brahms. The typical orchestra grew in size throughout the 18th and 19th centuries, reaching a peak with the large orchestras of as many as 120 players called for in the works of Richard Wagner and later Gustav Mahler. Orchestras are usually led by a conductor who directs the performance with movements of the hands and arms, often made easier for the musicians to see by using a short wooden rod known as a conductor's baton. The conductor unifies the orchestra, sets the tempo, and shapes the sound of the ensemble. The conductor also prepares the orchestra by leading rehearsals before the public concert, in which the conductor provides instructions to the musicians on their interpretation of the music being performed. The leader of the first violin section – commonly called the concertmaster – also plays an important role in leading the musicians. In the Baroque music era (1600–1750), orchestras were often led by the concertmaster, or by a chord-playing musician performing the basso continuo parts on a harpsichord or pipe organ, a tradition that some 20th-century and 21st-century early music ensembles continue. Orchestras play a wide range of repertoire, including symphonies, opera and ballet overtures, concertos for solo instruments, and pit ensembles for operas, ballets, and some types of musical theatre (e.g., Gilbert and Sullivan operettas). Amateur orchestras include youth orchestras made up of students from an elementary school, a high school, or a university, and community orchestras; typically they are made up of amateur musicians from a particular city or region. The term orchestra derives from the Greek ὀρχήστρα (orchestra), the name for the area in front of a stage in ancient Greek theatre reserved for the Greek chorus.

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.

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.

Die Harmonie der Welt (The Harmony of the World) is an opera in five acts by Paul Hindemith. The German libretto was by the composer. The title of the opera is taken from Harmonices Mundi by the astronomer Johannes Kepler (1571–1630) who is the subject of the opera. Hindemith used the planetary system as a metaphor for his own musical arrangement of the chromatic scale. The opera was completed in May 1957. Hindemith had previously composed a symphony of the same name in 1951.

The Horn Concerto is the only concerto for solo horn and orchestra composed by German composer Paul Hindemith. It was written in 1949.

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.

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.

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.

A sinfonietta is a symphony that is smaller in scale (either in terms of length or the instrumental forces required), or lighter in approach than a standard symphony. Although of Italian form, the word is not genuine in that language and has seldom been used by Italian composers. It appears to have been coined in 1874 by Joachim Raff for his Op. 188, but became common usage only in the early 20th century (Temperley 2001). Just as the term symphony itself can refer to pieces of music of varied size and scope, it is difficult to identify common criteria which pieces called sinfonietta share. Many of the sinfoniettas listed on this page employ larger forces and/or are longer than pieces designated symphonies, sometimes even by the same composer. Examples of sinfoniettas include: William Alwyn's Sinfonietta for strings (1970) Malcolm Arnold's Sinfonietta No. 1, Op. 48 (1954), Sinfonietta No. 2, Op. 65 (1958), and Sinfonietta No. 3, Op. 81 (1964) Alexander Arutiunian's Sinfonietta for string orchestra (1966) Jürg Baur's Triton-Sinfonietta: 3 Grotesken für Kammerorchester (1974) Maciej Bałenkowski's Sinfonietta no. 1 "Time is ticking" for string orchestra (2013/2014) and Sinfonietta no. 2 "Polonia" - hommage à Wojciech Kilar for string orchestra (2017/2018) Arnold Bax's Sinfonietta (1932) Lennox Berkeley's Sinfonietta, Op. 34 (1950) Herbert Blendinger's Sinfonietta, Op. 30 (1976) Eugène Bozza's Sinfonietta for string orchestra, Op. 61 (1944) Benjamin Britten's Sinfonietta, Op. 1 (1932) George Whitefield Chadwick's Sinfonietta (1904) Henry Cowell's Sinfonietta for chamber orchestra (1928) Ingolf Dahl's Sinfonietta for wind band Ikuma Dan's Sinfonietta (1974) Peter Maxwell Davies's Sinfonietta accademica (1987) Louis Durey's Sinfonietta for strings, Op. 105 (1966) Ulvi Cemal Erkin's Sinfonietta for string orchestra (1951–59) Iván Erőd's Minnesota Sinfonietta, Op. 51 Harald Genzmer's Sinfonietta for string orchestra Peggy Glanville-Hicks's Sinfonietta No. 1 in D minor for small orchestra (1935) and Sinfonietta No. 2 for orchestra (1938) Kimmo Hakola's Sinfonietta (1999) Ernesto Halffter's Sinfonietta in D major (1925) Josef Matthias Hauer's Sinfonietta in 3 Sätzen, Op. 50 Bernard Herrmann's Sinfonietta for string orchestra (1935) Paul Hindemith's Lustige Sinfonietta, Op. 4 (1916), and Symphonietta (Little Symphony) in E major (1949) Alun Hoddinott's Sinfonietta No. 1, Op. 56 (1968), Sinfonietta No. 2, Op. 67 (1969), Sinfonietta No. 3, Op. 71 (1970), and Sinfonietta No. 4 (1971) Bertold Hummel's Sinfonietta for wind orchestra, Op. 39 (1970) Mikhail Ippolitov-Ivanov's Sinfonietta, Op. 34 (arrangement for large orchestra of Violin Sonata, Op. 8) (1902) Leoš Janáček's Sinfonietta (1926) John Joubert's Sinfonietta for chamber orchestra, Op. 38 Pál Kadosa's Sinfonietta for orchestra Robert Kajanus's Sinfonietta, Op. 16 (1915) Vítězslava Kaprálová's Military Sinfonietta, Op. 11 (1937) Nikolai Kapustin's Sinfonietta for orchestra, Op. 49 (1986) Erich Wolfgang Korngold's Sinfonietta in B major, Op. 5 (1912) Ernst Krenek's Sinfonietta for string orchestra, "A brasileira", Op. 131 (1952) Ladislav Kubík's Sinfonietta No. 1 for 19 instruments (1999), No. 2, "Jacob’s Well" for orchestra (1999) and No. 3, "Gong" for mezzo-soprano, mixed choir, orchestra and electronics (2007–08) James MacMillan's Sinfonietta (1991) Elizabeth Maconchy's Sinfonietta (1976), not to be confused with her Little Symphony (1980–81) Tomás Marco's Sinfonietta No. 1 ("Opaco resplandor de la memoria"), for orchestra (1998–99), and Sinfonietta No. 2 "Curvas del Guadiana" (2004) Igor Markevitch's Sinfonietta in F (1928–29) Bohuslav Martinů's Sinfonietta giocosa (1940) and Sinfonietta La Jolla (1950), both for piano and chamber orchestra William Mathias's Sinfonietta, Op. 34 (1967) Johan de Meij's Sinfonietta No. 1 for brass band (2011) Darius Milhaud's Sinfonietta, Op. 363 (1957) E. J. Moeran's Sinfonietta (1944) José Pablo Moncayo's Sinfonietta (1945) Saburō Moroi's Sinfonietta in B-flat, Op. 24 "For Children" (1943) Nikolai Myaskovsky's Sinfonietta No. 1 for small orchestra, Op. 10 (1911), No. 2 for string orchestra, Op. 32 No. 2 (1929) and No. 3 for string orchestra, Op. 68 (1946) Ottokar Nováček's Sinfonietta for woodwind octet (1905) Krzysztof Penderecki's Sinfonietta No. 1 for string orchestra (1992), No. 2 for clarinet and strings (1994), No. 3 for string orchestra (2012) and Sinfonietta for flute and string orchestra (2019) George Perle's Sinfonietta I (1987) and II (1990) Astor Piazzolla's Sinfonietta for chamber orchestra, Op. 19 Walter Piston's Sinfonietta (1941) Francis Poulenc's Sinfonietta (1947) Sergei Prokofiev's Sinfonietta in A major, Op. 5 (1909, rev. 1929 as Op. 48) Joachim Raff's Sinfonietta for ten winds, Op. 188 (1874) Max Reger's Sinfonietta in A major, Op. 90 (1904–05) Wallingford Riegger's Sinfonietta (1959) Nikolai Rimsky-Korsakov's Sinfonietta on Russian Themes in A minor, Op. 31 (1879–84) Julius Röntgen's Sinfonietta humoristica (1922) Albert Roussel's Sinfonietta for string orchestra, Op. 52 (1934) Edmund Rubbra's Sinfonietta for large string orchestra, Op. 163 (1984–85) Cyril Scott's Sinfonietta for organ, harp and strings (1962) Humphrey Searle's Sinfonietta, Op. 49, for flute, oboe, clarinet, bassoon, horn, violin, viola, cello, and double bass (1968–69) Kazimierz Serocki's Sinfonietta for 2 string orchestras (1956) Vissarion Shebalin's Sinfonietta on Russian folksongs, Op. 43 (1949–51) Nikos Skalkottas's Sinfonietta (1948–49) Carlos Surinach's Sinfonietta flamenca (1953–54) Germaine Tailleferre's Symphonietta for trumpet, tympani and strings (1974–75) Alexandre Tansman's Sinfonietta No. 1, "À mon ami Louis Gruenberg" (1924) and Sinfonietta No. 1, "À Renard Czajkowski" (1978) Boris Tchaikovsky's Sinfonietta for string orchestra (1953) Mikis Theodorakis's Sinfonietta for solo flute, piano and string orchestra (1947) Ernst Toch's Sinfonietta for string orchestra, Op. 96 (1964), Sinfonietta for wind instruments and percussion, Op. 97 (1964) Eduard Tubin's Sinfonietta on Estonian Motifs (1940) Geirr Tveitt's Sinfonietta di Soffiatori (1962) Erich Urbanner's Sinfonietta 79 Anatol Vieru's Sinfonietta (1975) Heitor Villa-Lobos's Sinfonietta No. 1 (1916) and Sinfonietta No. 2 (1947) Johan Wagenaar's Sinfonietta (1916) Graham Waterhouse's Sinfonietta for string orchestra, Op. 54 (2002) Franz Waxman's Sinfonietta for string orchestra and timpani Mieczysław Weinberg's Sinfonietta No. 1, Op. 41 (1948) and Sinfonietta No. 2 for string orchestra and timpani, Op. 74 (1960) Felix Weingartner's Sinfonietta, Op. 83 (1932) John Williams's Sinfonietta for wind ensemble (1968) Malcolm Williamson's Sinfonietta (1965) Alexander von Zemlinsky's Sinfonietta for orchestra, Op. 23 (1934) Zhu Jian'er's Sinfonietta, Op. 38 (1994) Matteo Zanetti's Symphonietta for string orchestra (2010)

Neues vom Tage (English: News of the Day) is a comic opera (Lustige Oper) in three parts by Paul Hindemith, with a German libretto by Marcellus Schiffer. The opera is a satire of modern life, celebrity and marriage, involving parodies of both Puccini's music and Berlin Kabarett. The opera became notorious for a scene with a naked soprano (Laura) singing in the bath about the wonders of modern plumbing, though Hindemith replaced her with the tenor (Hermann) in the revised version. The on-stage nudity particularly aroused the ire of Ernst "Putzi" Hanfstängel, Hitler’s musical advisor, and was later indirectly cited by Joseph Goebbels as evidence that the "degenerate art" of "cultural bolshevist" composers should be excluded from Germany.

Nobilissima visione (The Noblest Vision) is a 50-minute ballet (or, more precisely, a "dance legend") in six scenes by Paul Hindemith, originally choreographed by Léonide Massine for the Ballet Russe de Monte Carlo. The libretto by Hindemith and Massine depicts episodes from the life of Saint Francis of Assisi. The work was completed in February 1938 and premiered at Theatre Royal, Drury Lane in London on 21 July 1938, with sets and costumes by Pavel Tchelitchew and under the baton of the composer. He led one performance of the new ballet at the Metropolitan Opera House in New York (for which the title was temporarily altered to Saint Francis) on 14 October of the same year. After the ballet premiere, Hindemith extracted a 20-minute orchestral suite (retaining the Nobilissima visione name) in three movements, using five of the original eleven movements: Introduction and Rondo March and Pastorale Passacaglia The first performance of the suite in Venice was at Teatro La Fenice on 13 September 1938 and has become a regularly programmed orchestral work. Though the ballet was originally scored for a small orchestra, the suite was for a full symphony orchestra from the outset. The suite does not attempt to follow the action of the ballet, instead Hindemith extracted only those portions of the score which he felt would be most effective in the concert hall. Hindemith himself conducted the Philharmonia Orchestra in a 21 November 1956 stereophonic recording of the suite, which was released by EMI.

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.

Although a concerto is usually a piece of music for one or more solo instruments accompanied by a full orchestra, several composers have written works with the apparently contradictory title Concerto for Orchestra. This title is usually chosen to emphasise soloistic and virtuosic treatment of various individual instruments or sections in the orchestra, with emphasis on instruments changing during the piece. It differs from sinfonia concertante in that it has no soloist or group of soloists that remains the same throughout the composition. A well-known concerto for orchestra is Béla Bartók's Concerto for Orchestra (1943), although the title had been used several times before. Goffredo Petrassi made the concerto for orchestra something of a speciality, writing eight of them since 1933. He finished the last one in 1972.

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 concertos and concertante works for piano left-hand and orchestra. The best known left-hand concerto is the Piano Concerto for the Left Hand in D by Maurice Ravel, which was written for Paul Wittgenstein between 1929 and 1930. Wittgenstein, who lost his right arm in World War I, commissioned a number of such works around that time, as did Otakar Hollmann. More recently, Gary Graffman has commissioned a number of left-hand concertos.

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

Neoclassicism in music was a twentieth-century trend, particularly current in the interwar period, in which composers sought to return to aesthetic precepts associated with the broadly defined concept of "classicism", namely order, balance, clarity, economy, and emotional restraint. As such, neoclassicism was a reaction against the unrestrained emotionalism and perceived formlessness of late Romanticism, as well as a "call to order" after the experimental ferment of the first two decades of the twentieth century. The neoclassical impulse found its expression in such features as the use of pared-down performing forces, an emphasis on rhythm and on contrapuntal texture, an updated or expanded tonal harmony, and a concentration on absolute music as opposed to Romantic program music. In form and thematic technique, neoclassical music often drew inspiration from music of the eighteenth century, though the inspiring canon belonged as frequently to the Baroque (and even earlier periods) as to the Classical period—for this reason, music which draws inspiration specifically from the Baroque is sometimes termed neo-Baroque music. Neoclassicism had two distinct national lines of development, French (proceeding partly from the influence of Erik Satie and represented by Igor Stravinsky, who was in fact Russian-born) and German (proceeding from the "New Objectivity" of Ferruccio Busoni, who was actually Italian, and represented by Paul Hindemith). Neoclassicism was an aesthetic trend rather than an organized movement; even many composers not usually thought of as "neoclassicists" absorbed elements of the style.

A sinfonietta is a symphony that is smaller in scale (either in terms of length or the instrumental forces required), or lighter in approach than a standard symphony. Although of Italian form, the word is not genuine in that language and has seldom been used by Italian composers. It appears to have been coined in 1874 by Joachim Raff for his Op. 188, but became common usage only in the early 20th century (Temperley 2001). Just as the term symphony itself can refer to pieces of music of varied size and scope, it is difficult to identify common criteria which pieces called sinfonietta share. Many of the sinfoniettas listed on this page employ larger forces and/or are longer than pieces designated symphonies, sometimes even by the same composer. Examples of sinfoniettas include: William Alwyn's Sinfonietta for strings (1970) Malcolm Arnold's Sinfonietta No. 1, Op. 48 (1954), Sinfonietta No. 2, Op. 65 (1958), and Sinfonietta No. 3, Op. 81 (1964) Alexander Arutiunian's Sinfonietta for string orchestra (1966) Jürg Baur's Triton-Sinfonietta: 3 Grotesken für Kammerorchester (1974) Maciej Bałenkowski's Sinfonietta no. 1 "Time is ticking" for string orchestra (2013/2014) and Sinfonietta no. 2 "Polonia" - hommage à Wojciech Kilar for string orchestra (2017/2018) Arnold Bax's Sinfonietta (1932) Lennox Berkeley's Sinfonietta, Op. 34 (1950) Herbert Blendinger's Sinfonietta, Op. 30 (1976) Eugène Bozza's Sinfonietta for string orchestra, Op. 61 (1944) Benjamin Britten's Sinfonietta, Op. 1 (1932) George Whitefield Chadwick's Sinfonietta (1904) Henry Cowell's Sinfonietta for chamber orchestra (1928) Ingolf Dahl's Sinfonietta for wind band Ikuma Dan's Sinfonietta (1974) Peter Maxwell Davies's Sinfonietta accademica (1987) Louis Durey's Sinfonietta for strings, Op. 105 (1966) Ulvi Cemal Erkin's Sinfonietta for string orchestra (1951–59) Iván Erőd's Minnesota Sinfonietta, Op. 51 Harald Genzmer's Sinfonietta for string orchestra Peggy Glanville-Hicks's Sinfonietta No. 1 in D minor for small orchestra (1935) and Sinfonietta No. 2 for orchestra (1938) Kimmo Hakola's Sinfonietta (1999) Ernesto Halffter's Sinfonietta in D major (1925) Josef Matthias Hauer's Sinfonietta in 3 Sätzen, Op. 50 Bernard Herrmann's Sinfonietta for string orchestra (1935) Paul Hindemith's Lustige Sinfonietta, Op. 4 (1916), and Symphonietta (Little Symphony) in E major (1949) Alun Hoddinott's Sinfonietta No. 1, Op. 56 (1968), Sinfonietta No. 2, Op. 67 (1969), Sinfonietta No. 3, Op. 71 (1970), and Sinfonietta No. 4 (1971) Bertold Hummel's Sinfonietta for wind orchestra, Op. 39 (1970) Mikhail Ippolitov-Ivanov's Sinfonietta, Op. 34 (arrangement for large orchestra of Violin Sonata, Op. 8) (1902) Leoš Janáček's Sinfonietta (1926) John Joubert's Sinfonietta for chamber orchestra, Op. 38 Pál Kadosa's Sinfonietta for orchestra Robert Kajanus's Sinfonietta, Op. 16 (1915) Vítězslava Kaprálová's Military Sinfonietta, Op. 11 (1937) Nikolai Kapustin's Sinfonietta for orchestra, Op. 49 (1986) Erich Wolfgang Korngold's Sinfonietta in B major, Op. 5 (1912) Ernst Krenek's Sinfonietta for string orchestra, "A brasileira", Op. 131 (1952) Ladislav Kubík's Sinfonietta No. 1 for 19 instruments (1999), No. 2, "Jacob’s Well" for orchestra (1999) and No. 3, "Gong" for mezzo-soprano, mixed choir, orchestra and electronics (2007–08) James MacMillan's Sinfonietta (1991) Elizabeth Maconchy's Sinfonietta (1976), not to be confused with her Little Symphony (1980–81) Tomás Marco's Sinfonietta No. 1 ("Opaco resplandor de la memoria"), for orchestra (1998–99), and Sinfonietta No. 2 "Curvas del Guadiana" (2004) Igor Markevitch's Sinfonietta in F (1928–29) Bohuslav Martinů's Sinfonietta giocosa (1940) and Sinfonietta La Jolla (1950), both for piano and chamber orchestra William Mathias's Sinfonietta, Op. 34 (1967) Johan de Meij's Sinfonietta No. 1 for brass band (2011) Darius Milhaud's Sinfonietta, Op. 363 (1957) E. J. Moeran's Sinfonietta (1944) José Pablo Moncayo's Sinfonietta (1945) Saburō Moroi's Sinfonietta in B-flat, Op. 24 "For Children" (1943) Nikolai Myaskovsky's Sinfonietta No. 1 for small orchestra, Op. 10 (1911), No. 2 for string orchestra, Op. 32 No. 2 (1929) and No. 3 for string orchestra, Op. 68 (1946) Ottokar Nováček's Sinfonietta for woodwind octet (1905) Krzysztof Penderecki's Sinfonietta No. 1 for string orchestra (1992), No. 2 for clarinet and strings (1994), No. 3 for string orchestra (2012) and Sinfonietta for flute and string orchestra (2019) George Perle's Sinfonietta I (1987) and II (1990) Astor Piazzolla's Sinfonietta for chamber orchestra, Op. 19 Walter Piston's Sinfonietta (1941) Francis Poulenc's Sinfonietta (1947) Sergei Prokofiev's Sinfonietta in A major, Op. 5 (1909, rev. 1929 as Op. 48) Joachim Raff's Sinfonietta for ten winds, Op. 188 (1874) Max Reger's Sinfonietta in A major, Op. 90 (1904–05) Wallingford Riegger's Sinfonietta (1959) Nikolai Rimsky-Korsakov's Sinfonietta on Russian Themes in A minor, Op. 31 (1879–84) Julius Röntgen's Sinfonietta humoristica (1922) Albert Roussel's Sinfonietta for string orchestra, Op. 52 (1934) Edmund Rubbra's Sinfonietta for large string orchestra, Op. 163 (1984–85) Cyril Scott's Sinfonietta for organ, harp and strings (1962) Humphrey Searle's Sinfonietta, Op. 49, for flute, oboe, clarinet, bassoon, horn, violin, viola, cello, and double bass (1968–69) Kazimierz Serocki's Sinfonietta for 2 string orchestras (1956) Vissarion Shebalin's Sinfonietta on Russian folksongs, Op. 43 (1949–51) Nikos Skalkottas's Sinfonietta (1948–49) Carlos Surinach's Sinfonietta flamenca (1953–54) Germaine Tailleferre's Symphonietta for trumpet, tympani and strings (1974–75) Alexandre Tansman's Sinfonietta No. 1, "À mon ami Louis Gruenberg" (1924) and Sinfonietta No. 1, "À Renard Czajkowski" (1978) Boris Tchaikovsky's Sinfonietta for string orchestra (1953) Mikis Theodorakis's Sinfonietta for solo flute, piano and string orchestra (1947) Ernst Toch's Sinfonietta for string orchestra, Op. 96 (1964), Sinfonietta for wind instruments and percussion, Op. 97 (1964) Eduard Tubin's Sinfonietta on Estonian Motifs (1940) Geirr Tveitt's Sinfonietta di Soffiatori (1962) Erich Urbanner's Sinfonietta 79 Anatol Vieru's Sinfonietta (1975) Heitor Villa-Lobos's Sinfonietta No. 1 (1916) and Sinfonietta No. 2 (1947) Johan Wagenaar's Sinfonietta (1916) Graham Waterhouse's Sinfonietta for string orchestra, Op. 54 (2002) Franz Waxman's Sinfonietta for string orchestra and timpani Mieczysław Weinberg's Sinfonietta No. 1, Op. 41 (1948) and Sinfonietta No. 2 for string orchestra and timpani, Op. 74 (1960) Felix Weingartner's Sinfonietta, Op. 83 (1932) John Williams's Sinfonietta for wind ensemble (1968) Malcolm Williamson's Sinfonietta (1965) Alexander von Zemlinsky's Sinfonietta for orchestra, Op. 23 (1934) Zhu Jian'er's Sinfonietta, Op. 38 (1994) Matteo Zanetti's Symphonietta for string orchestra (2010)

Symphonia Serena is an orchestral work composed by Paul Hindemith in 1946. It was premiered by the Dallas Symphony Orchestra on 2 February 1947 with Antal Dorati conducting. The work is organized into four movements: Moderately fast Geschwindmarsch by Beethoven, paraphrase Colloquy Finale

Symphonic Metamorphosis of Themes by Carl Maria von Weber is an orchestral work written by German composer Paul Hindemith in the United States in 1943.

Hans (in Czech known as Hanuš) Winterberg (23 March 1901 — 10 March 1991) was a Czech-German composer.

Symphony in B-flat for Band was written by the German composer Paul Hindemith in 1951. It was premiered on April 5 of that year by the U.S. Army Band "Pershing's Own" with the composer conducting.

Symphony in B-flat for Band was written by the German composer Paul Hindemith in 1951. It was premiered on April 5 of that year by the U.S. Army Band "Pershing's Own" with the composer conducting.

Symphony in B-flat for Band was written by the German composer Paul Hindemith in 1951. It was premiered on April 5 of that year by the U.S. Army Band "Pershing's Own" with the composer conducting.

Symphony: Mathis der Maler (Matthias the Painter) is among the most famous orchestral works of German composer Paul Hindemith. Music from the symphony was incorporated into, or reworked for, Hindemith's opera Mathis der Maler, which concerns the painter Matthias Grünewald (or Neithardt).

This is a partial repertoire list of classical works for saxophone.

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.

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.

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.