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The three Sonatas for Viola and Piano by Paul Hindemith highlight three important points in his stylistic development as a composer, from post-Romantic wunderkind through his moment as Germany's musical enfant terrible, to his carefully crafted mature style. Spanning the period between the two World Wars, these three sonatas showcase the viola, Hindemith's own main performance instrument during this time, as well as the piano, with colorful and virtuosic writing for both. While Hindemith's project, begun in the late 1930s, of writing sonatas for each of the orchestral instruments is well known, his earlier work with sonatas for string instruments and piano shows him thoroughly engaged in the duo-sonata medium throughout his career. Geraldine Walther, violist of the Takacs Quartet since 2005, plays 80 concerts worldwide annually. Born in Florida, Walther first picked up the viola in a public school music program in Tampa. She went on to study at the Manhattan School with Lillian Fuchs and at the Curtis Institute with Michael Tree of the Guarneri Quartet. In 1979, she won first prize at the William Primrose International Competition. She was the Principal Violist of the San Francisco Symphony for 29 years, having previously served as assistant principal of the Pittsburgh Symphony, Baltimore Symphony and Miami Philharmonic. With the San Francisco Symphony, Walther performed concertos by Mozart, Telemann, Berlioz, Hindemith, Martinu, Walton, Henze, Bartók, Schnittke, Penderecki, William Schuman, and others. She also premiered important works with the Orchestra by composers including Takemitsu, Lieberson and Benjamin. In 1995, Walther was selected by Sir Georg Solti for his Musicians of the World to celebrate the 50th anniversary of the United Nations. In 2011, she was awarded the Order of Merit Officer's Cross of the Republic of Hungary. As a member of Takacs, she was awarded the Royal Philharmonic Award in the Chamber Music and Song category. In 2012, the Quartet w