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Between 1921 and 1927, while the majority of Germany's composers were writing German nationalistic music, Paul Hindemith was exploring the wind medium. The result was his Kammermusik. Kammermusik is comprised of eight separate works divided up into three opus numbers. Six of these eight works are not what is normally considered chamber music, i.e. small ensembles such as a wind quintet with well balanced parts, rather than a concerto for soloist and chamber orchestra, which is the format for Kammermusik Nos. 2-7.

Historical Context
As Hindemith was writing his Kammermusik, Germany was recovering from World War I. Many Germans were shocked by the armistice and there was one particular German soldier who blamed it on Germany's lack of cultural unity. This soldier was Adolf Hitler. Over the course of Hitler's rise to political power, he repeatedly brought this up, with a large emphasis on Richard Wagner, a composer whom Hitler believed to be a true German, therefore representative of true German culture. Paul Hindemith, however, was not among the composers writing for the cause of German cultural unification. Hindemith's works were largely exploratory of the wind music medium. Throughout his Kammermusik, he repeatedly used wind instruments. He utilizes wind instruments in both works from Op. 24, with Kleine Kammermusik, Op. 24, No. 2 being exclusively a wind quintet for flute, oboe, clarinet, horn and bassoon. This same work in fact was not centered around the German culture at all, as it was Hindemith experimenting with jazz and looking towards his colleague and friend Igor Stravinsky (who coincidentally also looked towards jazz with his composition of Three Pieces for Solo Clarinet [1918]). The third movement of Three Pieces for Solo Clarinet was Stravinsky experimenting with jazz based on a letter he received from an American composer describing jazz. In Hindemith's Kleine Kammermusik, Op. 24 No. 2, he alludes to Stravinsky by utilizing repeated patterns, which Stravinsky does quite often (notably in his Three Pieces for Solo Clarinet, the third movement is very repetitive in a groove-like rhythm). Hindemith references jazz in this work in the movements entitled "Shimmy" and "Ragtime". The exploration of jazz by both Stravinsky and Hindemith reflect Ravel's practice in referencing Basque dance music. ''Kleine Kammermusik Op. 24 Nr. 2'', much like the other seven works, did not reflect the Germanic musical traditions in which Richard Wagner put into place in the previous century. This work in particular would go on to become a staple in the wind quintet literature.

Nomenclature
Paul Hindemith's Op. 24 is comprised of two works. The first, being Kammermusik Op. 24, No. 1, composed for a 13 piece orchestra including flute, clarinet, bassoon, trumpet, percussion, harmonium (which was was changed to accordion in 1952 by Hindemith ), piano, two violin s, viola, cello and double bass. The second, Kleine Kammermusik, Op. 24 No. 2 for Wind Quintet. Both works were premiered in 1922.

Like Op. 24, Hindemith's Op. 36 is also comprised of multiple works, these being Kammermusik No. 2-5. These would be named in order of Kammermusik, the number it is within the set, the opus number, and then the number it is within the opus number. For example, Kammermusik No. 3, Op. 36, No. 2, would be the third in the overall set, is included within Op. 36, and is the second piece within Op. 36. All eight works with the exception of Kleine Kammermusik, Op. 24, No. 2 follow this format.

The Works
, Op. 24, No. 1 (1922) for flute, clarinet, bassoon, trumpet, accordion, piano, string quintet and percussion1. Sehr schnell und wild

2. Mäßig schnell Halbe

3. Quartett: Sehr langsam und mit Ausdruck

4. Finale 1921: LebhaftDedication: "Dedicated to His Highness the Prince of Fürstenberg"

Premiered on July 31, 1922 in Donauschingen at the Second Donaueschingen Chamber Music Festival and conducted by Hermann Scherchen.

, Op. 24, No. 2 (1922) for wind quintet 1. Lustig. Mäßig schnell Viertel

2. Walzer: Durchweg sehr leise

3. Ruhig und einfach

4. Schnelle Viertel

5. Sehr lebhaftDedication: "For the Frankfurt Wind Chamber Music Association"

Premiered on June 13, 1922 in Cologne at the second Rhenish Chamber Music Festival by the Wind Chamber Music Association Frankfurt / Main.

, Op. 36, No. 1 (1924), 'Piano Concerto', for piano and 12 instruments1. Sehr lebhafte Achtel

2. Sehr langsame Achtel

3. Kleines Potpourri: Sehr lebhafte Viertel

4. Finale: Schnelle ViertelDedication: "For Emma Lübbecke-Job"

Premiered on October 31, 1924 at Frankfurt / Main by the "Frankfurter Museumorchester," conducted by Clemens Krauss. Emma Lübbecke-Job, the dedicatee, also premiered this piece.

, Op. 36, No. 2 (1925), 'Cello Concerto', for cello and 10 instruments1. Majestätisch und stark. Mäßig schnelle Achtel

2. Lebhaft und lustig

3. Sehr ruhige und gemessen schreitende Viertel

4. Mäßig bewegte Halbe. Munter, aber immer gemächlichDedication: "For Elsa and Willi Hof"

Premiered on April 30, 1925 in Bochum by the Solosists of the Bochum Municipal Orchestra, conducted by Paul Hindemith and performed by Rudolf Hindemith (violincello).

, Op. 36, No. 3 (1925), 'Violin Concerto'1. Signal: Breite, majestätische Halbe

2. Sehr lebhaft

3. Nachtstück: Mäßig schnelle Achtel

4. Lebhafte Viertel

5. So schnell wie möglichDedication: "Yashnykneshpeff for a beloved lion's birthday"

Premiered on September 17, 1925 in Dessau for the opening concert of the "series concerts" of the Friedrich-Theater". Conducted by Franz von Hoesslin and played by violinist Licco Amar.

, Op. 36, No. 4 (1925), 'Viola Concerto', for viola and chamber orchestra1. Schnelle Halbe

2. Langsam

3. Mäßig schnell

4. Variante eines MilitärmarschesDedication: Dedicated to Professor Arnold Mendelssohn"

Premiered on November 3, 1927 in Krolloper Berlin Staatskapelle. Condcuted by Otto Klemperer and played by violist (and composer) Paul Hindemith.

, Op. 46, No. 1 (1927), 'Concerto for viola d'amore and chamber orchestra'1. Mäßig schnell, majestätisch

2. Langsam

3. Variationen

4. Lebhaft, wie früherThere is no dedication for this piece.

Premiered on March 29, 1928 in Cologne by the Members of the Frankfurt Municipal Orcehstra. Condcuted by Ludwig Rottenberg and Viola d'amore played by Paul Hindemith.

, Op. 46, No. 2 (1927), 'Concerto for organ and chamber orchestra'1. Nicht zu schnell

2. Sehr langsam und ganz ruhig

3. [Achtel bis 184]Dedication: "Dedicated to the Frankfurt station"

This piece was premiered on August 1, 1928 in Frankfurt / Main. Conducted by Ludwig Rottenberg and Organ played by Reinhold Merten.