The Genius of Paul Hindemith: Introduction (03:10)

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Leonard Bernstein describes how Paul Hindemith mastered melodies, harmony, counterpoint, and rhythm. Critics of the time period call his work Bolshevik and atonal. Hindemith's music resists Arnold Schoenberg's 12-tone method.

"Three Exercise Pieces" (05:08)

Hindemith's music evolves from Johann Sebastian Bach's two-part invention. Hindemith's "Piano Sonata No. 2" is an ancestor of Joseph Hadyn's music. The conflict of E-flat and E natural is called cross-relation.

"Quartet No. 3, Op. 22" (01:54)

Hindemith incorporates bitonality into the composition. Bernstein explains how his music reflects the bitterness of the period after World War I.

"Kleine Kammermusik": I. (04:58)

Bernstein conducts the woodwind quintet in the first movement of the composition. Hindemith incorporates joy into the piece; he loved German music.

"Mathis de Maler": Introduction (05:46)

Hindemith incorporates cross-relations, bitonality, joy, and tenderness in this piece. The title refers to painter Matthias Grünewald. Bernstein explains Hindemith's struggle with the rise of the Third Reich.

"Mathis de Maler": I. Performance (08:49)

Bernstein conducts the New York Philharmonic in the "Concert of Angels" portion of the Hindemith composition.

"Mathis de Maler": II. (06:10)

This movement suggests grief and sadness. Bernstein conducts the New York Philharmonic in the "The Entombment" portion of the Hindemith composition.

"Mathis de Maler": III. Introduction (03:11)

Hindemith incorporates atonal music in the beginning and end, reflecting the rise of the Third Reich and hope for the future.

"Mathis de Maler": III. Performance (12:41)

Bernstein conducts the New York Philharmonic in the "The Temptation of St. Anthony" portion of the Hindemith composition.

Credits: The Genius of Paul Hindemith (00:50)

Credits: The Genius of Paul Hindemith