Revision is an intrinsic stage of the compositional process. Aside from the fortunate few who may write down a musical idea in polished form, composers constantly rework, refine and hone their material during the process of writing a new piece. This is not revelatory; and yet the status of a musical work, once premiered or published, changes. The present chapter considers two of Hindemith's revised works through the lens of his compositional development and theoretical re-workings, in addition to evaluating their critical reception. Its investigation is made all the more enticing given the timing and substance of Hindemith's revisions. The two examples, Das Marienleben for soprano and piano (1923 and 1948) and Lieder nach alten Texten for SSATB choir (1923 and 1937–1938) were crucially written before Hindemith devoted his time to writing the Unterweisung, and then subsequently revised as a corollary of his theory. They therefore provide a unique opportunity to analyse the relationship of Hindemith's music theory to his compositional practice, not just as a prescriptive device, but as a corrective tool. Marienleben and Lieder are set apart from a composition such as the Ludus Tonalis, which was written with fresh, theoretical ideas in mind. The revisions may be understood as a comparison of instinctive versus systematic musical composition. Along the way, we need to bear in mind the fundamental distinction between revision as process, and the revision of published scores to produce a simultaneously accessible second version. A draft, and a publication, possess different statuses. The difference is key to understanding the mixed, tangled and sometimes abrasive reception of several of Hindemith's revised scores.

Similar to the Ludus Tonalis, the Marienleben cycle is a composition of noteworthy length and scope. That all of the songs in the cycle, which lasts approximately sixty minutes in performance, underwent revision offers an enormous array of musical data which can be analysed to further understand the relationship of Hindemith's music theory to his own compositional practice. A comparison of the two versions also helps to quantify the stylistic difference between Hindemith's early and later styles. Lieder nach alten Texten, of smaller design, is instructive as an unaccompanied choral work, which affords an opportunity to engage with the revisions to Hindemith's counterpoint, in a way not found in a composition for soprano and piano. Hindemith's treatment of cadences, in particular, is noteworthy.