Abstract
The article is devoted to the study of chamber music by Paul Hindemith, in particular, sonatas for wind instruments with piano. The work enhances the keen feeling and great desire of the composer to write power for spiritual instruments. The author considers the issue related to the concert and pedagogical repertoire for spiritual instruments, examines the topic of expanding the repertoire in this area through the works of P. Hindemith. The author also paid special attention to the composer’s interpretation of each instrument in chamber sonatas for wind instruments with piano, where composer’s attention was shown to each instrument in an unusual relation to its role due to the expansion of the boundaries of expression.
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