Many Germans were shocked by the Armistice, and one particular soldier, Adolf Hitler, blamed it on Germany's lack of cultural unity.

[4] Over the course of his rise to political power, he repeatedly brought this up, with an emphasis on Richard Wagner, a composer whom he believed to be representative of true German culture.

[4] Hindemith was not among the composers writing for the cause of cultural unification; his works were largely exploratory of the wind medium.

2, being a wind quintet for flute, oboe, clarinet, horn and bassoon.

Its third movement was the result of a letter he received from an American composer describing jazz.

Hindemith references jazz in movement titles such as "Shimmy" and "Ragtime".

[5] The exploration of jazz by both Stravinsky and Hindemith reflects Ravel's practice of using Basque dance music.

Hindemith pursued polyphony and a "Baroque stability of motion" as neo-Bachian elements, in a "post-war reaction against the twin emotional excesses of Romanticism and Expressionism".

[3] Some musicologists and performers count only the numbered works as Hindemith's Kammermusiken, excluding the wind quintet.

In the table, the first column shows the title, the second the opus number (Op.

), the fourth the type of composition, the fifth the number of movements if not 4 (M), and the sixth year and place of the premiere.

1 was composed in 1922, set for flute, clarinet, bassoon, trumpet, harmonium, piano, string quintet and percussion.

Modern German music has finally managed to embrace today's lifestyle having its fling at its most frivolous and vulgar.

The man who brought about this wonder is the composer Paul Hindemith in his Kammermusik op.

One is confronted with a kind of music the likes of which no German composer with an artistic attitude has ever even dared think about, let alone write, music of a lewdness and frivolity only possible for a very special kind of composer.

[10][5] It is structured in five movements:[11] Hindemith composed the work for the Frankfurter Bläser-Kammermusikvereinigung (Frankfurt Wind Chamber Music Association), one of the first wind ensembles in Germany, and dedicated it to them.

It is structured in four movements:[12] The piano part is not in the tradition of virtuoso pianism, but returns to mostly two-part writing, similar to Bach's Inventions.

[7] The work is dedicated to the pianist who was soloist in the premiere: "For Emma Lübbecke-Job".

[14] It is structured in five movements: Hindemith wrote in his catalogue that he enjoyed writing this work very much.

[14] It was premiered in Dessau on 17 September 1925 for the opening concert of the concert series of the Friedrich Theatre, conducted by Franz von Hoesslin, with violinist Licco Amar as the soloist.

It is structured in four movements:[15] The work is regarded as one of the most difficult viola concertos.

[7] The orchestra is formed by several wind instruments, and only cellos and double basses for strings, probably to grant the viola dominance.

[16] It was premiered in Cologne on 29 March 1928 by members of the municipal orchestra of Frankfurt (Städtisches Orchester Frankfurt), conducted by Ludwig Rottenberg, and the composer as the viola d'amore soloist.

[16] Reviewer Theodor W. Adorno noted then: "At times in the slow parts there are passages of a great, mournfully sad stillness, just like the mood in the evening on the edge of a large city".

2, was composed in 1927 as a concerto for organ and chamber orchestra ("für Orgel und Kammerorchester (Orgelkonzert)").

[17] It was premiered in Frankfurt on 1 August 1928, conducted by Rottenberg, with Reinhold Merten as the organ soloist.