The composers Hindemith and Casella did not turn to themes from antiquity, but their compositions of the twenties--notably Hindemith’s Cardillac and Casella’s La giara and his Scarlattiana--display conspicuously the use of classical musical forms, such as passacaglia, fugue, gavotte, and many others, all orchestrated for smaller instrumentation typical of the Baroque rather than the huge orchestras of Wagner and Mahler. Their writings also reveal a conscious desire to emulate their fellow classicists of the ’20s in the return to order and harmony.
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