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On Approaching a Performance of Paul Hindemith's Der

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On Approaching a Performance of Paul Hindemith's Der On Approaching a Performance of Paul Hindemith’s Der Schwanendreher Christine Cheng BMus (Hons) UQ A thesis submitted for the degree of Master of Philosophy at The University of Queensland in 2016 School of Music Abstract This critical commentary investigated the interpretative process of approaching Paul Hindemith’s Der Schwanendreher for performance. The analysis and application of ideas based on the study of the following primary sources: Hindemith’s letters, theories and memoir to inform interpretative decisions of Der Schwanendreher was discussed in depth. The first chapter provided contextual knowledge of Hindemith’s musical style in conjunction with his life as described by his letters. In the second chapter, Hindemith’s compositional theory and principles presented in his pedagogical texts were examined and applied in analysis to Der Schwanendreher for a more informed understanding of the work’s compositional language. The third chapter explored the role of the performer in the interpretative process according to Hindemith’s own views expressed in his memoir with that of the more contemporary practice-based performance research. These three points of research were used to support a discussion of my own journey interpreting and performing the work which I modelled using Australian musicologist Anne Marshman’s Philosophy of the “Performer’s Voice.” ii Declaration by author This thesis is composed of my original work, and contains no material previously published or written by another person except where due reference has been made in the text. I have clearly stated the contribution by others to jointly-authored works that I have included in my thesis. I have clearly stated the contribution of others to my thesis as a whole, including statistical assistance, survey design, data analysis, significant technical procedures, professional editorial advice, and any other original research work used or reported in my thesis. The content of my thesis is the result of work I have carried out since the commencement of my research higher degree candidature and does not include a substantial part of work that has been submitted to qualify for the award of any other degree or diploma in any university or other tertiary institution. I have clearly stated which parts of my thesis, if any, have been submitted to qualify for another award. I acknowledge that an electronic copy of my thesis must be lodged with the University Library and, subject to the policy and procedures of The University of Queensland, the thesis be made available for research and study in accordance with the Copyright Act 1968 unless a period of embargo has been approved by the Dean of the Graduate School. I acknowledge that copyright of all material contained in my thesis resides with the copyright holder(s) of that material. Where appropriate I have obtained copyright permission from the copyright holder to reproduce material in this thesis. iii Publications during candidature No publications Publications included in this thesis No publications included iv Contributions by others to the thesis No contributions by others Statement of parts of the thesis submitted to qualify for the award of another degree None v Acknowledgements Thank you to my two supervisors: Simon Perry, for your expertise and support in the research and thesis part of this degree, I am incredibly grateful your patience, guidance and insightful advice throughout the past two years. To Patricia Pollett, I can’t thank you enough for your wisdom, patience and time showing me that music is such an exciting (and never ending) journey of discovery and learning. Your enthusiasm and passion for teaching continues to inspire me. Thank you also to all my friends, especially my lovely housemates who have not only tolerated endless practicing but have also been there to provide me with moral support and jokes at all hours. Most importantly thank you to mum and dad for all the encouragement, opportunities and unconditional support you’ve given me throughout my life and especially throughout this degree. I am forever thankful to have such a nurturing support system in my life. vi Keywords Hindemith, Der Schwanendreher, viola, performance, interpretation, compositional theory, performer Australian and New Zealand Standard Research Classifications (ANZSRC) ANZSRC code: 190407, Music Performance, 100% Fields of Research (FoR) Classification FoR Code: 1904, Performing Arts and Creative Writing, 100% vii Table of Contents List of Musical Examples ...………………………………………………………………………….1 List of Figures ………………………………….………………………………….…………………2 Introduction and Literature Review ………………………………….………………………………3 Chapter 1: Background 1.1 Childhood and early compositions (1895–1918) …..…….……………………………...6 1.2 Experimental phase (1917–27) …………....………………………………….……….....7 1.3 Gebruachsmusik (1927–32) …………....………………………………………………...9 1.4 Neoclassicism (1933–40)…………....………………………………….………………..9 Chapter 2: Application of Hindemith’s compositional theory to Der Schwanendreher 2.1 Overview of Hindemith’s The Craft of Musical Composition: Book One …………......12 2.2 Application of Hindemith’s theories to selected passages in Der Schwanendreher...….22 Chapter 3: Role of the Performer in Interpretation 3.1 Hindemith’s view on the role of the performer..……………….……………………….30 3.2 Contemporary views on the role of the performer..……………….……………………31 3.3 Anne Marshman’s Philosophy of the Performer’s Voice..……………….……………..31 3.4 Application of Marshman’s Approach to inform my interpretation of Der Schwanendreher 33 Concluding Remarks….…………….………………………………….…………...………………54 List of Works Cited ………………………………………………………………………………...56 Appendix …………………………………………………………………………………………...59 viii List of Musical Examples Ex. 2.1. Hindemith, Der Schwanendreher, first movement, bars 1–3. Ex. 2.2. Hindemith, “Series 1.” The Craft of Musical Composition: Book 1, 96. Ex. 2.3 Hindemith, “Series 2” The Craft of Musical Composition: Book 1, 87. Ex. 2.4 Hindemith, Der Schwanendreher, first movement, bars 163–75. Ex. 2.5. Hindemith, Der Schwanendreher, second movement, bars 1–5. Ex. 2.6. Hindemith, Der Schwanendreher, second movement, bars 1–6. Ex. 2.7. Hindemith, “Series 2” The Craft of Musical Composition: Book 1, 87. Ex. 2.8. Hindemith, Der Schwanendreher, second movement, bars 1–7. Ex. 2.9. Hindemith, Der Schwanendreher, second movement, bars 39–59. Ex. 2.10. Hindemith, Der Schwanendreher, first movement, bars 1–11. Ex. 2.11. Hindemith, Der Schwanendreher, second movement, bars 1–21. Ex. 2.12. Hindemith, Der Schwanendreher, first movement, bars 1–11. Ex. 3.1. Hindemith, Der Schwanendreher, first movement, bars 1–11. Ex. 3.2. Hindemith, Der Schwanendreher, first movement, bars 34–51 Ex. 3.3. Hindemith, Der Schwanendreher, first movement, bars 65–69. Ex.3.4. Hindemith, Der Schwanendreher, first movement, bars 87–94. Ex. 3.5. Hindemith, Sonata for Solo Viola, op. 25, no.1, fourth movement, bars 1–8. Ex. 3.6. Hindemith, Der Schwanendreher, first movement, bars 95–107. Ex. 3.7. Hindemith, Der Schwanendreher, first movement, bars 163–73. Ex. 3.8. Hindemith, Der Schwanendreher, first movement, bars 192–204. Ex. 3.9. Hindemith, Der Schwanendreher, first movement, bars 192–204. Ex. 3.10. Hindemith, Der Schwanendreher, second movement, bars 1-18. Ex. 3.11 Hindemith, Der Schwanendreher, second movement, bars 35–62. Ex. 3.12 Hindemith, Der Schwanendreher, second movement, bars 233–60. Ex. 3.13. Hindemith, Der Schwanendreher, second movement, bars 73–84. Ex. 3.14. Hindemith, Der Schwanendreher, second movement, bars 114–23. Ex. 3.15. Hindemith, Der Schwanendreher, third movement, bars 27–38. Ex. 3.16. Hindemith, Der Schwanendreher, third movement, bars 47–63. Ex. 3.17. Hindemith, Der Schwanendreher, third movement, bars 60–61. Ex. 3.18. Hindemith, Der Schwanendreher, third movement, bars 81–92 Ex. 3.19. Hindemith, Der Schwanendreher, third movement, bars 98–02. Ex. 3.20. Hindemith, Der Schwanendreher, third movement, bars 109–20. 1 List of Figures Fig. 1. Hindemith, “Table of Chord-Groups,” The Craft of Musical Composition: Book 1, n. pag. Fig. 2. Analysis, Der Schwanendreher, first movement, bars 1–11. Fig. 3. Analysis, Der Schwanendreher, second movement, bars 1–21. Fig. 4. Analysis, Der Schwanendreher, second movement, bars 35–65. Fig. 5. Mind map, My Integral Voice Fig. 6. Hindemith, Caricature. Paul Hindemith News. <http://www.hindemith.info/en/life- work/zeichnungen> 2 Introduction and Literature Review This critical commentary contextualises my preparation of a performance of Paul Hindemith’s Der Schwanendreher (1935). There is currently limited research available on the performance of Hindemith’s music for viola, which is possibly linked to the decreased popularity of his music over the last fifty years (Cummings, n. pag.). However, Hindemith’s prolific composition of viola works and their dominance in the standard repertoire can therefore result in violists approaching his works without as much experience and information as might be available for other repertoire. My research aims to bring attention to this area through an investigation of one of Hindemith’s major works for the instrument. Der Schwanendreher was chosen for study in this critical commentary to complement my own journey preparing this work for performance for the first time. The first chapter considers Hindemith’s life in conjunction with the stylistic developments in his compositions up to Der Schwanendreher in 1935. This idea of a parallel survey of Hindemith’s life and music was influenced by Simon Desbruslais’ chapter
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