Neither truly radical nor conservative, Hindemith's music lies between these two extremes. The 20th century saw many distinct styles of composition evolve, and Hindemith worked his way through several of them. Like many of his contemporaries, he started out in a Post-Romantic style, exemplified by his String Quartet No. 1 (1918). He experimented with expressionism in the one-act operas Mörder, Hoffnung der Frauen (1919) and Sancta Susanna (1921), and the song cycle Das Marienleben (1923). Around...