Paul Hindemith (1895-1963) occupies a distinctive position in twentieth-century music. Although best known for his orchestral, chamber and instrumental works, he also made a significant contribution to the organ repertoire. His organ music reflects his fascination with counterpoint, traditional forms and the expressive possibilities of modern harmony. Rather than treating the organ solely as a liturgical instrument, Hindemith explored it's potential for intellectual rigour, structural clarity and powerful sonority.Hindemith's two early Zwei Stucke fur Orgel (1918) offer a glimpse of his developing musical language. His three organ sonatas, composed in 1937 and 1940, represent a more mature approach, combining traditional formal principles with his distinctive harmonic vocabulary. The First Sonata (1937) unfolds through contrasting sections, from measured and reflective passages to freer, more animated writing. The Second Sonata (1937) combines rhythmic energy with a concise three-movement structure, culminating in a lively fugue.The Third Sonata (1940), subtitled nach alten Volksliedern ('after old folk songs'), draws on traditional German melodies. Hindemith reworks these tunes through changes in harmony, texture and contrapuntal treatment, creating a compelling dialogue between musical tradition and twentieth-century expression.The programme also includes Langsames Stuck und Rondo (1935) and Des kleinen Elektromusikers Lieblinge (1930), a collection of seven pieces originally written for three Trautoniums, an early electronic instrument. Both works have been arranged for organ by Pier Damiano Peretti, bringing an unusual and inventive dimension to the programme and revealing a less familiar side of Hindemith's musical imagination.Pier Damiano Peretti has won prizes at numerous international organ competitions, including those in Bologna, Pretoria, Innsbruck, Hamburg and Toulouse. In 1999, he won the interpretation section of the prestigious St Albans International Organ Competition, becoming the first Italian winner. His repertoire spans early music to contemporary works, with a particular interest in historically informed performance practice and modern music. He also regularly collaborates with living composers.The recording was made on the Rieger organ at St Martin's Church in Kassel, Germany. The organ's specification is included in the booklet.